Hope Clarke, a seasoned, sensitive director/choreographer with a Tony nomination among her long list of credits, deftly emphasized the sense of genuine community on Catfish Row, along with the superstitions and pettiness that threatened it. Some of the blocking and dance sequences looked rudimentary, but the key elements of the drama were effectively conveyed.

That drama, and the music driving it, have been well honored in this Morgan staging. This is the real "Porgy and Bess," in its unabashed grand opera form. No big cuts, no Broadway-style reductions to George Gershwin's brilliant score or orchestrations.

It's a great reminder of the continued potency of the original work, with its ever-fascinating story by DuBose Heyward, who fashioned the libretto (with significant input from his wife Dorothy) and a good deal of the lyrics (with contributions from Ira Gershwin).

On Friday night, Kevin Short commanded the stage as Porgy. The bass-baritone filled out the music with an exceptional rich, even tone and vivid, often quite individualistic phrasing. He was particularly compelling in the final scene, as Porgy slowly realizes that Bess has deserted him.

Short, with the help of the vibrant Ruby Weston (Serena) and Leah Hawkins (Maria), made "Oh Where's My Bess" an affecting high point of the evening.

Kishna Davis tore into the role of Bess, revealing the character's physical and moral volatility -- Bess is the ultimate "sometime thing" -- to telling effect. The soprano's plush voice hit the spot, whether in Bess' sweet little goodbye on the way to the picnic or soaring in the "I Loves You Porgy" duet.

The lithe and nimble Larry Hylton caught the oily attractiveness of Sportin' Life and sang with delicious flair. Lester Lynch was a dynamic force, vocally and theatrically, as Crown.

In most cases, supporting roles were ably filled, showcasing lots of promising talent among the university's voice students. Shana Oshiro, as Clara, sang "Summertime" sweetly. I also especially admired the evocative work of Joseph Johnson (Honey Man), Melodye Shipmon (Strawberry Woman) and Anthony Marciano (Crab Man).

Technical glitches, mostly with lighting, took a toll Friday, but nothing derailed this earnest and spirited effort.  I couldn't help but think, though, how much more satisfying it would have been to experience this production at the Lyric Opera House instead.

I'm afraid the cavernous Gilliam Concert Hall at the Murphy Fine Arts Center just doesn't cut it acoustically, or in ambiance. At the Lyric, amplification would not have been needed (it was, thankfully, used moderately here). Oh well.

I hasten to add that it is important to have this "Porgy" at Morgan, where the first Bess, Baltimore's Anne Brown, once studied (Morgan College then). It's a fitting way to celebrate the 10th anniversary of the arts center and, above all, to show off promising voice students at the school and the growth of the opera department under the guidance of Vincent Dion Stringer.

And there's another element worth noting -- the opportunity to see this classic opera about African Americans produced by an African American institution. That's significant and valuable in itself.

Final performances are Saturday night and Sunday afternoon.