American Gallery - Porgy, Bess and George

Summary

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Podcast Summary: Harold’s Old Time Radio

Episode: American Gallery – Porgy, Bess and George

Date: March 23, 2026
Host: Harold’s Old Time Radio
Featuring: Art Ballinger (Narrator), Ross Martin (as George Gershwin), Marvin Miller, Olin Soule, Lou Krugman, and others

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Overview of the Episode

This episode is a dramatized documentary that explores the life, genius, and enduring legacy of George Gershwin, focusing particularly on the conception, creation, and journey of his landmark opera: Porgy and Bess. Through a mix of narration, dramatized dialogue, and real historical reflections, listeners are transported from Gershwin’s Brooklyn childhood to the world premiere of Porgy and Bess, and its subsequent journey through early criticism to eventual recognition as an American masterpiece.

The episode is narrated with warmth and nostalgia by Art Ballinger, who guides the listener through key moments—introducing the creative team, the development process, the challenges faced, and the cultural impact of the opera. The dramatization features Ross Martin as Gershwin and includes scenes with Gershwin’s brother Ira and the librettist Dubose Hayward.

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Key Discussion Points & Insights

The Genesis of Porgy and Bess

• Gershwin’s Early Life and Inspiration:

  • George Gershwin, born to immigrant parents in Brooklyn, rose unexpectedly to musical greatness.
  • “Those folks didn't know an A flat from a tenement flat, and yet their George grew up to be the genius who wrote the music for Porgy and Bess.” (Narrator, 00:36)

• Choice of Source Material:

  • Gershwin recognized Dubose Hayward’s novel Porgy as “a perfect vehicle for my opera” (06:03).
  • He lauded Hayward’s dignified treatment of Black characters, determined to avoid Hollywood stereotypes:

    “Hayward has treated the Negro with dignity and intelligence. His characters aren't stereotypes out of Hollywood. They're real.” (Gershwin, 06:25)

Collaboration and Creative Process

• Gershwin, Ira Gershwin, and Dubose Hayward’s Partnership:

  • They exchanged ideas across New York and South Carolina, mostly via post until Gershwin traveled south.
  • The creative process involved deep immersion:
    • “At every opportunity, he and Hayward visited the neighboring Negro communities.” (Narrator, 15:15)

• On Writing New ‘American’ Music:

  • Gershwin rejected simply reusing existing folk material, opting to write music “of one piece”—original spirituals and folk songs inspired by the communities:

    “I have to write my own spirituals and folk songs.” (Gershwin, 16:20)

  • On why the South was essential:

    “I had a reason for swapping the racket of a midnight traffic jam for those loud mouthed crickets outside my cottage. ... The humor, the superstition, the religious fervor, the dancing—all the irrepressible high spirits of the American Negro—never appeared in operatic form.” (Gershwin, 16:29)

Artistic Experimentation

• Fusing Opera and Theater:
  • Gershwin sought to create a new, uniquely American opera by blending traditional opera with theater and popular music idioms:

    “It's a new form. Opera combined with theater. And can you tell me a better people to use as characters in the— I don't know of anyone who expresses himself more eloquently by song and dance.” (Gershwin, 17:10)

Memorable Creative Conversations

• The episode dramatizes the working dynamic between Gershwin and Hayward, with playful and pointed exchanges about artistic process, lyric-writing, and collaboration.
• Notable Moment: When Hayward challenges Gershwin on the speed and natural flow of dialogue in lyrics:

  “But if the dialogue is fast moving, cut to the bone, this will give the opera speed and tempo. The singing has to grow out of the action.” (Hayward, 13:13)

The Making of a Masterpiece

• Gershwin’s intense, hands-on composition period in South Carolina:

  • “Summertime, 1934, flew by for Gershwin. He completed most of the monumental score in the 42 days he spent with Dubose Hayward.” (Narrator, 18:52)

• Ira Gershwin’s lyrical contributions and continued collaboration:

  • “Ira has written the lyrics for Porgy and Bess' first duet. And I really think this bit of melody will be most effective.” (Gershwin, 19:28)

Early Reception, Disappointment, and Vindication

• The Boston tryout and New York premiere met with mixed, sometimes harsh critical reactions:

  “‘Porgy and Bess does not utilize all the resources of the operatic composer.’” (Reading reviews, 24:32)

• Despite criticism, some recognized its glory:

  “‘Mr. Gershwin has contributed something glorious to the spirit of Haywood's community legend. It contains some of the loveliest music he has written.’” (Doc quoting a review, 25:07)

• Gershwin’s own measured confidence in the face of mixed reviews, quoting Stravinsky:

  “‘I am a perfectly sure road. There is nothing to discuss or criticize. One does not criticize anyone that is functioning. ... I guess I wrote a lumpy mattress. At least according to these music critics. Amazing how wrong they can be.’” (Gershwin, 25:36)

Enduring Impact and Global Fame

• The episode highlights the opera's eventual acclaim and worldwide influence:

  • “During World War II, it played in over 50 cities throughout the United States, Canada, and Europe. ... In motion picture form, it was seen in virtually every country on Earth.” (Narrator, 26:24-27:24)

• On the legacy and symbolism:

  “It has been said our country has not had a better advertisement than the Porgy and Best troupe anytime, anywhere.” (Narrator, 27:58)

• The heartbreaking early death of George Gershwin at 38 is noted, leaving a permanent artistic mark:

  “He was a great man while he lived. Today, 30 years later, somehow he seems even greater.” (Narrator, 28:03)

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Notable Quotes & Memorable Moments

• On the Spirit of Black America:

  “The humor, the superstition, the religious fervor, the dancing—all the irrepressible high spirits of the American Negro—never appeared in operatic form.” (Gershwin, 16:29)

• On Creative Confidence and Doubt:

  “For all your ego, which your success entitles you to, you're not as confident as you'd pretend. ... Talent can't exist without the favorable opinions of others. The greatest act in the world would be nothing without applause.” (Doc, 20:27 and 20:40)

• On Emotional Impact:
  (After hearing the duet)

  “Excuse me. You're crying.”
  “I'm an emotional man. You write emotional music like that. I cry now.”
  (Gershwin and Doc, 22:57-23:01)

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Timestamps for Important Segments

• 00:36 – John Bubbles reminisces about the 1935 premiere of Porgy and Bess.
• 06:03 – Gershwin shares his vision for adapting Porgy into an American opera.
• 08:38–11:45 – Gershwin’s sojourn in South Carolina to collaborate with Hayward.
• 15:15 – Gershwin and Hayward study Gullah culture for authentic inspiration.
• 19:28–22:57 – Creation and performance of the opera’s key duet; emotional validation.
• 24:32 – Reading and discussing the opera's initial mixed reviews.
• 26:24 – Retrospective: the worldwide journey and impact of Porgy and Bess.
• 28:03 – Reflecting on Gershwin’s legacy after his death.

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Tone & Atmosphere

The episode delivers a nostalgic, respectful, and inspirational tone throughout—blending historical education with lively dramatization. The affection for Gershwin’s work and for this period of American music history is clear, and the show honors both the creative struggles and triumphs behind a now-iconic opera.

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For Listeners

This episode is a treasure for fans of American music, musical theater, and cultural history. It provides deep context and vivid re-imagining of how Porgy and Bess was created and why it remains a seminal work. Key creative lessons, the challenge of artistic innovation, and the complex legacy of Gershwin and his collaborators come through with clarity and heart.

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End of Summary.

Transcript

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[Narrator / Art Ballinger]

Level Up Expo to introduce this episode of An American Gallery, here is the noted American entertainer John Bubbles.

You know, I think about it every once in a while. That September night in 1935, I was at the Colonial Theater in Boston, Massachusetts. They played the overture, the curtain went up, and for the first time, an audience was seeing George Gershwin's American opera, Porgy and Beth. It's kind of hard to believe, but most of you weren't even born that night over 30 years ago. And it's just as hard to believe that my role of sporting life made me a part of something that has every promise of becoming downright immortal. I guess it really all started in 1898 when a Jewish couple in Brooklyn named Morris and Rose Gershwin became the parents of a boy named George. Those folks didn't know an A flat from a tenement flat, and yet their George grew up to be the genius who wrote the music for Porgy and Ben.

George Gershwin composer saluted this week on An American Gallery, Ross Martin stars as George Gershwin in Porgy. Bess and George

[Actor portraying Nazi announcer / Various characters]

the supreme high command of the Third Reich can today announce to the people of Denmark another glorious victory for the Fatherland. Move forward on the Eastern front.

[Doc (music critic or mentor figure)]

The things that you're liable to read in the Bible. It ain't mess us every song why

[Actor portraying Nazi announcer / Various characters]

do, why do I.

[Narrator / Art Ballinger]

In 1943, during World War II, Orgy and Bess had its European premiere in Denmark. All of the 22 performances were sold out, and the critical and popular acclaim of the Danes was unstinning. This American folk opera became a symbol of Denmark's resistance to the Nazis. Each time the Nazis issued their victory communiques over the Danish radio, the underground cut in with their precious recording of one of the opera's most popular tunes. It ain't necessarily so. It's virtually impossible to find anyone who doesn't know at least some Gershwin music.

[Actor portraying Nazi announcer / Various characters]

Sam.

[Narrator / Art Ballinger]

Not a day goes by without Gershwin's Rhapsody in Blue being played or performed somewhere. He wrote that in 1924. He was 26 years old. In 1925, he composed his Concerto in F. And in 1928, American in Paris. But for him, these were merely preludes to Porgy and Bess.

[Actor portraying Nazi announcer / Various characters]

I don't know when you wake up and let me in. All right, all right. Are you alone? No, I brought the whole chorus line from George White.

[George Gershwin]

Scandal.

[Actor portraying Nazi announcer / Various characters]

You kindly get off your lid. I'm coming, I'm coming. Get the lid out.

[George Gershwin]

Get the coffee on.

[Narrator / Art Ballinger]

Well, now, which is it, huh? You want the lead out or the coffee on? Both. My pot refuses to perk before 11am My dear brother.

[George Gershwin]

Well, I'll coax it. Sun is high and there's a world to conquer.

[Narrator / Art Ballinger]

Ira, you've already done that. George, you ever read Ira? Only my own lyrics.

[George Gershwin]

Now, we all have our crosses to bear.

[Dubose Hayward]

Here.

[Narrator / Art Ballinger]

Hey, hey, hey. That's Mama's china you hit. You want to die before your time?

[George Gershwin]

That is Dubose Hayward's novel, Porgy.

[Narrator / Art Ballinger]

George, you gave me a copy of this about four years ago.

[George Gershwin]

I also told you then it was a perfect vehicle for my opera. How do you like this Victorian stove

[Narrator / Art Ballinger]

With a match only composers can afford. Pilot lights. Here, read it. Closed box before striking. Manufactured by the Diamond Master. Is that the book?

[Dubose Hayward]

I saw the play.

[Narrator / Art Ballinger]

1927, remember? The Theater Guild produced Porgy.

[George Gershwin]

That's five years ago. Ira, this is a magnificent thing. Hayward has treated the Negro with dignity and intelligence. His characters aren't stereotypes out of Hollywood. They're real. My music, your lyrics and Porgy can be an American opera that will endure your supreme accomplishment. Well, you said it, not me.

[Dubose Hayward]

George, you've known the work for five years.

[Narrator / Art Ballinger]

Did you have to wake me up?

[George Gershwin]

Because I just woke up. It just dawned on me. This is exactly the vehicle I've been looking for.

[Narrator / Art Ballinger]

The story of a Negro beggar from Catfish Row in Charleston.

[George Gershwin]

Yeah, I already wired Hayward. He owns the rights, free and clear.

[Dubose Hayward]

Will you read it, George?

[George Gershwin]

You have a dozen other commitments. I always have a dozen other commitments. But this, this will be uppermost of my mind. The mood, the setting, the characters, they all have to move inside of me. And that's what has to happen with you. It takes time. This isn't Lady Be Good. Ira, it's an opera.

[Narrator / Art Ballinger]

All right, all right, I'll read it.

[George Gershwin]

Finally.

[Narrator / Art Ballinger]

Arguing with you is like arguing with Mama. I never win and I'm always gl.

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[Narrator / Art Ballinger]

Summertime 1934. For the first time since the Gershmans planned their collaboration with Porgies Author DeBose Hayward Two years before, George was free of his many commitments. He packed his bags, grabbed the first train for South Carolina, and soon found himself heading for Hayward's summer home on Folly,

[George Gershwin]

The Bose. You mean to tell me this motorboat is the only way to reach your place?

[Actor portraying Nazi announcer / Various characters]

Heck no.

[Dubose Hayward]

Could have swum there. This will do you good. You got a little of that subway power?

[George Gershwin]

Yeah, complicated by a slight touch of opening night jitters.

[Dubose Hayward]

There's at Haywood Cottage. We tie up right by it.

[George Gershwin]

Swell. When do the natives attack?

[Dubose Hayward]

I guess it is all kind of primitive by your standards.

[George Gershwin]

Yeah, but depose. Watch it over there.

[Dubose Hayward]

What?

[George Gershwin]

Not 20ft from us.

[Dubose Hayward]

Oh, hey, you really are. Dude, that's just a giant turtle burying some eggs.

[George Gershwin]

Oh, you mean they're friendly?

[Dubose Hayward]

A lot friendlier than those sharks out there where you see their fins.

[George Gershwin]

We just came through there.

[Dubose Hayward]

Safer than Penn Station in the rush hour. Oh, boy.

[George Gershwin]

If you know anybody who wears a size 34 bathing suit, I brought one they can have.

[Dubose Hayward]

Save it. You can use it to swat away the sand crabs that'll be crawling around the cottage I rented for you.

[George Gershwin]

Sand crabs?

[Dubose Hayward]

And maybe you can sing Embraceable you to some of the bull alligators in the swamps over yonder.

[George Gershwin]

Did anybody happen to line up a piano for this safari?

[Dubose Hayward]

You know, George, the missus even went and had it tuned for you yesterday. Oh, here, give me a hat. Keep it up. Luggage. Only a couple of hundred feet to the cottage.

[George Gershwin]

Nothing Personal Dubose. But as a respected American author, I can't understand why you chose to live on a battered South Sea island. You have to admit it sure looks like one.

[Dubose Hayward]

I'll admit it is a little ragged around the edges. We had a hurricane two weeks back

[George Gershwin]

and Ira was griping because he had to stay in New York to put the final touches on Life begins at 8:40.

[Dubose Hayward]

You know, it's the warm days that get you when the flies, gnats and mosquitoes come hunting for your blood. I hope you can compose with one hand cause you'll be scratching with the other.

[George Gershwin]

Listen, could we stop at your place maybe so I can phone my mother. She worries if I go south of 34th Street.

[Dubose Hayward]

Telephone? Mm. Not a single one on the whole island.

[George Gershwin]

You mean it's 10 miles through Shark infested waters to the nearest phone?

[Dubose Hayward]

Wonderful, isn't it? Aw, yeah. Here we are. Your cottage. How do you like it, George?

[George Gershwin]

This place called Folly's island or Devil's Island?

[Narrator / Art Ballinger]

Four rooms.

[Dubose Hayward]

Running water run on this island, George. Running Water's the name of an Indian brave. We bring in our water in five gallon crocks.

[George Gershwin]

Charleston. Where's the closet?

[Dubose Hayward]

Right here.

[George Gershwin]

Four nails.

[Dubose Hayward]

More where those come from. Oh, thanks. You know, some folks say Jefferson Davis slept in that bed.

[George Gershwin]

Yeah, after he lost the war, no doubt.

[Dubose Hayward]

Yeah. Come in here. There.

[George Gershwin]

Oh, I don't believe it.

[Dubose Hayward]

Try it.

[George Gershwin]

Civilization.

[Dubose Hayward]

I reckon I should have warned you. But you were so intent on working near the atmosphere that inspired the story.

[George Gershwin]

Yeah, maybe so. But only because you just didn't want to come to New York, that's all. And that's where we worked out the song that should be this island's anthem.

[Dubose Hayward]

Yeah, what's that?

[Actor portraying Nazi announcer / Various characters]

And Nothing's Plenty for me.

[Dubose Hayward]

That tune still sounds good.

[George Gershwin]

It better if my music and your and Ira's lyrics won't hold up for two months, we're in trouble.

[Dubose Hayward]

How does that stuff look that I've been sending you?

[George Gershwin]

Every bit as good as I hoped. Ira thinks so too.

[Dubose Hayward]

But does it bother him collaborating with me on the lyrics?

[George Gershwin]

Who?

[Actor portraying Nazi announcer / Various characters]

Ira.

[George Gershwin]

Sweetest disposition this side of my father.

[Narrator / Art Ballinger]

Me?

[George Gershwin]

I have my mother's disposition. And nothing you've done bothers me except too much dialogue. Still, we're doing an opera dialogue.

[Dubose Hayward]

But if the dialogue is fast moving, cut to the bone, this will give the opera speed and tempo. The singing has to grow out of the action.

[George Gershwin]

Suppose your dialogue already sings?

[Doc (music critic or mentor figure)]

Look, I'll show you.

[George Gershwin]

Here, your manuscript. Go on, open it. Anywhere. Go ahead, pick a line, any line.

[Dubose Hayward]

All Right. All right, here. Um. Hush little baby, don't you cry oh,

[George Gershwin]

now that's too easy. Just listen so.

[Actor portraying Nazi announcer / Various characters]

Hush, little baby, don't you cry

[Narrator / Art Ballinger]

See,

[Dubose Hayward]

I believe the word is touche.

[Actor portraying Nazi announcer / Various characters]

Oh, yeah.

[George Gershwin]

Now, the opening of Act 2, where Jake sings with the fishnets. I love your lyric ideas, but the rhythm completely eludes.

[Dubose Hayward]

But, George, if you just imagine yourself

[Doc (music critic or mentor figure)]

at the oar of a boat.

[George Gershwin]

Oh, swell.

[Dubose Hayward]

I keep forgetting.

[Narrator / Art Ballinger]

All right, let's grab the lyric.

[Dubose Hayward]

We'll get in the boat, you'll start rowing and you'll hear the rhythm.

[Actor portraying Nazi announcer / Various characters]

It take a long fish it take a long fool to get there

[Dubose Hayward]

it

[Actor portraying Nazi announcer / Various characters]

take a long 4 ton.

[Narrator / Art Ballinger]

Except for Hayward's one short visit to New York the previous April, that summer was the first time the two men actually worked together. All their earlier work had been carried between New York and South Carolina by the United States mails. But now Gershwin was free of his numerous commitments and work on the folk opera accelerated, often to the accompaniment of the alligators in the nearby swamp. Gershwin saw his seven week stay on the South Carolina coast as an opportunity to observe the very people who were the principal characters in the folk opera. At every opportunity, he and Hayward visited the neighboring Negro communities.

[Dubose Hayward]

This is James Island, George. Mostly Gullah Negroes here.

[George Gershwin]

Gullah Negro?

[Narrator / Art Ballinger]

Mm.

[George Gershwin]

Never heard the word.

[Dubose Hayward]

Toss me that line, will you?

[George Gershwin]

Oh, sure.

[Dubose Hayward]

The Gullahs settle the coastal islands of this state, Georgia and some of Florida. Their accent is more English than American.

[George Gershwin]

That's fascinating.

[Dubose Hayward]

That's the church right over there. Come on.

[George Gershwin]

Say, we're not too late, are we?

[Dubose Hayward]

No, no. Services will still be on and I guarantee you a full house sro. And when they sing, George, well, if you can capture some of that spirit, you'll have your folk opera.

[George Gershwin]

You know, Dubose, when I started work on the music, I decided against the use of original folk material.

[Dubose Hayward]

Why? It's marvelous stuff. Most of the world's never heard it. And it's as American as hot dogs and Indian rain dances.

[George Gershwin]

Yeah, but the music has to be all of one piece. I have to write my own spirituals and folk songs.

[Dubose Hayward]

And where do you find the inspiration? On Broadway?

[George Gershwin]

All right, maybe I have a little egotism, but I'm not a fool. I had a reason for swapping the racket of a midnight traffic jam for those loud mouthed crickets outside my cottage. I'll write the music, but I know the inspirations down here. That's what excites me so about the whole project. The humor, the superstition, the religious fervor, the Dancing all the irrepressible high spirits of the American Negro never appeared in operatic form.

[Dubose Hayward]

Or any form, for that matter. Except for jazz. And that's a hybrid. You'll never hear Beiderbecke or Armstrong at a revival meeting.

[Doc (music critic or mentor figure)]

But the way you keep cutting dialogue.

[Dubose Hayward]

How are you going to get away

[Narrator / Art Ballinger]

with the word opera?

[George Gershwin]

It's a new form. Opera combined with theater. And can you tell me a better people to use as characters in the. I don't know of anyone who expresses himself more eloquently by song and dance. And we need their humor, Dubose. It's part of our American expression. I don't mean gag humor.

[Doc (music critic or mentor figure)]

I mean natural humor.

[George Gershwin]

Humor that flows from the story itself into the lyrics and the music. If I can only

[Doc (music critic or mentor figure)]

listen.

[George Gershwin]

Listen.

[Doc (music critic or mentor figure)]

I am.

[George Gershwin]

Scene 4 in Act 2.

[Dubose Hayward]

You wanted to open that with a prayer.

[George Gershwin]

Let's see. Scene three ends with Porgy promising to protect Bess.

[Narrator / Art Ballinger]

The duet.

[George Gershwin]

I loves you, Porgy. The hurricane bell sounds. It's perfect. A hymn, a prayer.

[Actor portraying Nazi announcer / Various characters]

It's perfect.

[George Gershwin]

Open Scene four. All of Serena's friends are terrified. They're in her room praying for their men out at sea during the storm.

[Narrator / Art Ballinger]

I like it.

[George Gershwin]

And now, listening to this, I know how that prayer has got a sound to Bose.

[Actor portraying Nazi announcer / Various characters]

I can hear it, I tell you. I can hear it.

[Narrator / Art Ballinger]

Summertime, 1934 flew by for Gershwin. He completed most of the monumental score. In the 42 days he spent with Dubose Hayward. He had faith in the work. He saw it as resembling a combination of the drama and romance of Carmen and the beauty of De Meister Singer. He felt the dramatic effect would be sensational. For he planned to have the few white people in the production speak their lines while the Negroes in answering would sing theirs. Both Ira and Hayward worked on the lyrics. Gershwin returned to New York in August and on November 5th wrote to Hayward.

[George Gershwin]

I would like to set a tentative date for rehearsals. Also, I would like to have auditions started during January or February. So people we cast can be learning the music, saving us much rehearsal time. Ira has written the lyrics for Porgy and Best first duet. And I really think this bit of melody will be most effective. As soon as I finish this letter to you, I'm going over to play it and sing it. Lawrence Tibbett. I'm not from My editor at Chapel's music publishers. Doc Sur Me is an old friend of mine and his taste is impeccable. So my regards to the alligators and step on a sand crab for me.

[Doc (music critic or mentor figure)]

George, you know why you came to see Me?

[George Gershwin]

Please, no philosophy. I need a reaction.

[Doc (music critic or mentor figure)]

A drink?

[George Gershwin]

No, thanks. Just a piano.

[Doc (music critic or mentor figure)]

I have more pianos than Minsky has. Girls, come.

[George Gershwin]

You know, I think I've done something really good, Doc.

[Doc (music critic or mentor figure)]

That's why you've come.

[George Gershwin]

What?

[Doc (music critic or mentor figure)]

For all your ego, which your success entitles you to, you're not as confident as you'd pretend.

[George Gershwin]

What are you talking about? I just said it's good.

[Doc (music critic or mentor figure)]

You think you've done something good, remember?

[George Gershwin]

Doc, you're losing me.

[Doc (music critic or mentor figure)]

I'm simply saying that your talent is so great because you never forget that without the favorable opinions of others, talent can't exist. The greatest act in the world would be nothing without applause.

[George Gershwin]

Doc, you're getting old.

[Actor portraying Nazi announcer / Various characters]

Deny it.

[Doc (music critic or mentor figure)]

You came for my approval, my applause.

[Actor portraying Nazi announcer / Various characters]

You're crazy.

[George Gershwin]

Porgy's gonna be great.

[Actor portraying Nazi announcer / Various characters]

Aha.

[Doc (music critic or mentor figure)]

Then why are you here?

[George Gershwin]

My piano's out of tune. Okay,

[Doc (music critic or mentor figure)]

okay. Go ahead, Go ahead. What have you got playing?

[George Gershwin]

Well, it's the first duet between Porgy and Bess. Now, Ira did the lyrics. I'll do Porgy's part first and then Bess's.

[Narrator / Art Ballinger]

Good.

Yes.

[Actor portraying Nazi announcer / Various characters]

You is my woman now. You is, you is. And you must laugh and sing and dance for two instead of one. Want no wrinkle on your brow. Oh, how? Because the sorrow of the past is all done, done. Oh, best, my best. The real happiness is just begun.

[George Gershwin]

And she sings to him and she

[Actor portraying Nazi announcer / Various characters]

says, O ye as your woman.

[Narrator / Art Ballinger]

And you.

[Dubose Hayward]

Doc. Doc. Yes, yes, I hear you.

[George Gershwin]

You laugh.

[Narrator / Art Ballinger]

No, no, no, no, no, no, no,

[Dubose Hayward]

no, no, George, it's quite the opposite.

[Doc (music critic or mentor figure)]

It's lovely. Lovely.

[George Gershwin]

Excuse me. You're crying.

[Doc (music critic or mentor figure)]

Listen, I'm an emotional man. You write emotional music like that. I cry now.

[Dubose Hayward]

Why?

[George Gershwin]

What made you cry?

[Doc (music critic or mentor figure)]

I know something happened here in my heart, George. It's only happened a few times in my life.

[Narrator / Art Ballinger]

After the traditional Boston tryout, Porgy and Bess opened in New York two weeks later, October 10, 1935. The celebrity filled audience gave the work an ovation that has seldom been equaled afterwards. Gershwin and all those involved in the production celebrated at a Park Avenue apartment. With Paul Whiteman's band playing and the cast still singing the score. Everything indicated they had a major hit on their hands. But when the morning papers containing the reviews appeared, one of the show's hit songs. Proved tragically prophetic. Mama's making more coffee.

[George Gershwin]

Listen to this one. Porgy and Bess does not utilize all the resources of the operatic composer.

[Dubose Hayward]

That's gentler than the one I'm reading.

[Actor portraying Nazi announcer / Various characters]

Yeah.

[Dubose Hayward]

Such sure fire rubbish as the duet Between Poggy and Bess, how the composer could stoop to. Well, y' all get the idea.

[Narrator / Art Ballinger]

It is crooked folklore and halfway opera.

[Doc (music critic or mentor figure)]

A crippled work, you know, gentlemen, you're all reading the music critics. I'm sitting here reading one of the drama critics.

[Narrator / Art Ballinger]

More pans.

[Doc (music critic or mentor figure)]

This one says, I quote, Mr. Gershwin has contributed something glorious to the spirit of Haywood's community legend. It contains some of the love, loveliest music he has written.

[Narrator / Art Ballinger]

Let me see that.

[Dubose Hayward]

George, you once told me that the only thing you were sensitive to was a lumpy mattress. Now, was that talk a fact.

[George Gershwin]

Du Bois Stravinsky once said, and I quote, I am a perfectly sure road. There is nothing to discuss or criticize. One does not criticize anyone. That is functioning 20 months. 559 pages of score, 700 pages of orchestration. I guess I wrote a lumpy mattress. At least according to these music critics. Amazing how wrong they can be. Mama, where's that coffee?

[Narrator / Art Ballinger]

With George Gershwin, it was never truly a matter of ego. It was simply the kind of honest confidence that is so often the lifeblood of genius. It was the kind of confidence enjoyed by Da Vinci, Michelangelo and George Gershwin. Of course, the critics were wrong. Gershwin and the public were right. The original production lasted for only 124 performances. But the Theater Guild took Porgy and Bess on a national tour the following year. In 1938, it was performed successfully on the West Coast. During World War II, it played in over 50 cities throughout the United States, Canada and Europe. Seventeen years after its tryout in Boston, it opened in Vienna, Austria. That company moved to London, Berlin and Paris. In the following years, it was performed throughout Europe, the Middle east and Latin America. Its subsequent performances in New York ran more than twice as long as the original. In motion picture form, it was seen in virtually every country on Earth of its foreign tours sponsored by the United States State Department. It has been said our country has not had a better advertisement than the Porgy and Best troupe anytime, anywhere.

Two years after Puggy and Bess opened at the age of 38, George Gershwin was dead. He was a great man while he lived. Today, 30 years later, somehow he seems even greater.

You have been listening to another portrait from an American gallery today. Ross Martin was starred as George Gershwin, composer in Porgy, Bess and George. Featured in the cast were Marvin Miller, Olin Soule and Lou Krugman. Sound patterns by Gene Twombly. Ernie Hughes was the pianist Porgy Bess and George was written by Robert M. Young. Produced and directed by William Lally. Art Ballinger speaking. This is the United States Armed Forces Radio Service.

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