Ask an Economist: What’s the Deal with College Tuition?

Economist Eugene "Gene" Silberberg

I’ve written before about what I think could be called, fairly, the runaway costs of higher education. But what, I wondered, does an economics professor think of this trend?

On the one hand, viewed with an economist’s famously dispassionate eye, perhaps we’re simply seeing the true value of higher education set.

On the other, as a professor of economics, there would be some skin in the game. Is this what’s best for students? For society?

For an acid test, I reached out to Dr. Eugene Silberberg, professor emeritus at the University of Washington, a hard-nosed microeconomist and the author of Principles of Microeconomics and Fiddle Tunes I Learned At the Tractor Tavern (and other places around Puget Sound).

Why microeconomics?

Well, as economist Yoram Bauman paraphrases P.J. O’Rourke: “Microeconomists are wrong about specific things, and macroeconomists are wrong about things in general.” It’s one thing to wring our hands over things not being like they used to be, it’s another to take a closer look at the mechanisms of change and ask if the market is getting something wrong. Still, as you will see from the following interview, Harry S Truman’s joke about the need for one-handed economists still stands.

Q: Is college considered a requirement for a larger group of the population these days? Everyone a knowledge worker?

Technology has changed the nature of education so drastically. I went to college because that’s what I decided to do. The big payoff now, and all the Census statistics show this, is the mastering of technology. Some of it’s specialized training, but even just the liberal skills of being able to think systematically about problems–those have become more valuable.

At the same time, high school has become of a much lower quality than it was when I was going to high school. Back 50 years ago, if you flunked your classes, they threw you out. Now society is loath to do that. When they did throw you out, it wasn’t like it was the end of the world. You could get a job. Now it’s kind of a disaster.

Q: What do you think is driving the increase in higher education costs?

That’s a puzzle which I don’t fully understand, why education has become more expensive. [Ed.: Here’s some extra reading on the reputed causes of increasing higher education costs, and whether it’s creating a bubble.]

It’s got to be almost all faculty salaries. You do have to have some administration, and there’s more administrators than we used to have. When I got the University of Washington in 1967, there was a dean of Arts & Sciences and a few associate deans. Now there must be 15 deans [some there to enforce federal regulations that didn’t exist previously]. These people have a way of multiplying themselves. So there’s a higher administrative cost. But I don’t think that explains the overall cost.

Scholarship has become more in demand in some ways. Obviously if you’re going to have a department of computer science, you’ve got to bid those people away from private industry, where they can sometimes make terrific amounts of money. And that’s going to be an expensive department. We didn’t have that in 1967–or nobody was making that kind of money, even adjusted for inflation. So what’s driving it? In some cases, it’s these fields that have become valuable. I have a friend in finance, and the last few years, the new hires have been getting paid more than full professors.

A lot of this is effected by big demographic shifts. There was a big baby boom that occurred after WWII and continued through the ’50s. We had this huge crush of students coming through. I was born before that, and benefited from it, because in the ’60 and ’70s, if you had a warm forehead you could get a job [as a professor]. Everyone was expanding. That was a major force driving up the cost of college.

I’ll give you a number. I went off to grad school in 1960. And I remember a conversation with an acquaintance who asked me, What do you want a PhD for? He said, You can teach in New York City public schools and get $5,000 or go to graduate school, give up four years of income, and the starting salary at the City College of New York (CCNY) is $5,500, not that much more. It’s not worth it.

Well, by the time 1964 came around, those salaries were no longer $5,500, they were $9,000 to $10,000–almost double in four years. And they continued to skyrocket. And that was all due to baby boomers.

Now the baby boomers are 65. They’re going to start retiring this decade, and there’s going to be a lot of new openings.

Q: What’s your recommendation for the ideal college tuition system?

There’s value judgements and then there’s science. Let me get my value judgements out of the way. I grew up in a Jewish family in New York. Starting with that generation of Americans, if you were Jewish and your kid didn’t go to college, you moved to another state.

I not only had free public education through high school, and a good one at that, I then went to CCNY, where the tuition was $10 a semester. In today’s dollars, maybe $70 a semester. Really cheap. Then I proceeded to get a fellowship from the federal government, it was called the National Defense Fellowship, for three years of graduate school, and another private foundation granted me a fourth year. So I emerged from graduate school with a Ph.D. and no debt. And went on to make, immediately, more than twice the average entry-level income.

If in fact I had taken out loans for all of that schooling, at the full cost of the education, no subsidy at all, and paid it all back I’d still be way ahead. It’s troubling to me, because I really believe in education and higher education in particular, but it’s almost for sure a net transfer of wealth from the poor to the rich. The people who go to college, for example, make on average over their working lives, in today’s dollars, something on the order of a million dollars more than a high school graduate.

Now that’s not all due to college. A lot of it, and economists have never come up with a hard number, is due to the fact that the people who go to college are in general more skilled and more capable than the people who, given the deck they were dealt, limits them to high school.

If it’s given to you free, it’s a transfer of wealth from other taxpayers. Now you have to modify that by how taxes are structured. Families making less than $50,000 per year pay only a small proportion of federal income taxes, but they pay state sales and other taxes. So it’s a complicated question. But if you ask me whether I’m in favor of really low-cost education, I’m in favor of that. I benefitted from it, it’s a terrific mechanism for upward mobility, and I believe in it.

Those views are qualified by the fact that it’s a benefit for the fairly well-to-do. The people who can’t go to college because they don’t have the capability of studying college-level material, who are never going to make more than the average, well, they’re subsidizing those people getting engineering and accounting degrees who are making much more than they are.

If you ask economists what their ideal solution would be, I think most of them would come down on–well, in general, we believe people should pay the full costs of their actions. That would mean paying full cost for your education, though that can be modified if you think there’s some overall, state benefit by having a more productive workforce. But in general you want people to pay, and finance it with loans. People used to pay full cost for medical school, and they got private loans for that.

But that worked because people who got into medical school almost always graduated, and they became doctors and had good incomes, and so it was a fairly low-risk loan for a bank. With just general liberal arts degrees it’s not a good loan, so the government has gotten into the act. The only way you could collect was to sell someone into slavery, so you could just walk away from it. The federal government had more leeway in terms of liens and putting pressure on people to repay than a bank had.

That would be the economically efficient ideal, but I don’t think it’s really practical, and there is this benefit to having people, who don’t have all that much wherewithal, meaning income, having the advantage of going to college and really improving their lives. Some sort of subsidization probably facilitates that in a way that I would approve of. But like I say, it’s hard not to mix up my own value judgements and hard economics.

Q: Doesn’t access to government-backed student loans then make it easier to raise tuition?

Yes, unambiguously. Whether it’s a good thing or not, I don’t know. But yes, it enables students to pay a greater proportion of the full cost of their education. Usually when you make loans, you have collateral. If you default, the lender has some recourse. If the lender has absolutely no recourse, they’ll never make anybody a loan for anything. If you’re buying a car, well, they can take the car back. It’s just a matter of liquidity in the present–in some sense you’re wealthy enough to buy the car, but the income’s not coming until a few years down the road and this is a way of borrowing against future income, so you can have the car now.

In the case of education, the asset is the human brain. You can’t repossess that, absent selling someone into slavery. The federal government can do this a little bit: If you go into ROTC and then sign up for the military, you can essentially sign up for this indentured servitude, and they’ll pay your tuition. However, if Boeing were to say, We’ll pay your way through engineering school, but then you have to come work for us for five years, that contract would simply be invalid. You could walk away from it and there’d be no recourse.

So government-backed student loans is an efficient way of providing this liquidity, so you could go to college and pay it off when your income became high, or higher, when you got your degree. Not all college degrees lead to immediately high earnings. A lot of times they initially look similar to what you had when you got out of high school.

Q: When universities like the University of Washington claim they need to raise prices to stay competitive, it sounds like tuition is in a feedback loop.

First of all, you don’t want to take almost anything people say like that at face value. In public universities there’s a big political component. They have to justify their actions in this way. Ultimately, it comes down to, What can we make this stuff for and what can we sell it for? And that’s the decision. If they think they can make more money by raising the price, they’ll do that. If they think they can make more by lowering the price, they’ll do that, and they’ll come up with any cockamamie reason to justify that. But I don’t place very much stock in what people say.

Q: Do universities ever turn to their economic departments for guidance on tuition-setting issues?

No. I’m certain the answer to that is “Never.” But there’s a famous saying in economics, there’s no such thing as a free lunch. Education is not free. You have to devote resources to provide an education, you have to hire faculty, it’s not free, it’s expensive. I’m not sure of the exact numbers, but I think the real cost is about twice [the tuition they’re charging]. Somebody’s got to pay for it.

If it’s a public university, what’s the political solution? It’s sort of a contract–more than just an implicit contract–that you move to Washington State, you pay taxes, and you know that there are these universities around. So one of the benefits is that your kids will have the opportunity to go there at a subsidized cost because you, at the moment, while your kids are little, are subsidizing all these other people. It’s like breaking the contract to suddenly raise it up. I think that’s one of the reasons why people are upset.

Also, they’re restricting the number of in-state tuition people, because they can make more money from out-of-state tuition levels. Personally I think that’s outrageous. To me, it’s breaking the social contract. People have been paying state taxes all along, subsidizing other state residents. I think the contract was that their kids could go to the University of Washington if they were qualified, and not have someone out of state take that slot. My solution would be to raise in-state tuition a little more.

But the things that they say in public, I don’t place much stock in that at all. Especially with public universities, it’s always with an eye to the legislature. A university president’s main job is to be a public spokesman and get more money from the legislature. That should be the official title: Chief Fundraiser. You have to be mindful of that. Legislators have to vote for these tuition subsidies. You can’t go around angering them.

Q: The University of Washington recently gained the ability, at long last, to set its own tuition. A good idea whose time has come?

In general, it’s a good idea. Most colleges have that ability. Again, it’s not a private university. It’s state funded, we all get checks from the State of Washington, and since the tax payers are paying the bill, it’s not like the university can do whatever it wants without input from the legislature. So there’s got to be some sort of balance, but exactly what that is I’m not sure.

When you look at these institutions from the outside, it’s a fabulous university. When you go inside, at any organization, you see all the waste and garbage and personal infighting. There’s no solution to it; it’s going to happen no matter how you organize it. But in the end, the universities we have here are really quite fine. I’m thinking mainly University of Washington and Washington State–not to slight the others—you can go there and get a really first class education.

You can also go there and get a really lousy education. I’ve known students who, well, they pass through. It has these subtle effects on them, but they’re not appreciative. Maybe it’s just youth. A lot of students could care less if a class is taught by an actual professor or a graduate student. I’ve always told students, When you look at the schedule, if there’s one taught by a professor of something, take that class.

Q: What’s one way you would bring costs down?

There are a lot of people running around with Ph.D.’s nowadays with very poor job prospects. It seems like some entrepreneur could round these people up and have a college–have a college like what I went to at CCNY. There was no pretense of it being a university. It was a four-year college. I got a good education there. It seems like someone could go into that business and have a much lower cost private education than what exists. I don’t know why it’s not happening. There’s got to be a reason, but I don’t know what it is.

Seattle Doesn’t Have a Pothole Problem–It Has a Repaving Problem

Mayor McGinn, pothole magnate

The Seattle Weekly–and I want to make it perfectly clear this likely has nothing at all to do with Mayor McGinn’s crusade to get the Weekly‘s parent company to stop profiting from juvenile sex trafficking–recently published this headline: “Pothole Claims in Seattle Increase Nearly Threefold Under Mayor Mike McGinn.”

Claims against the city for pothole damages totaled more than $88,000 in 2010-11, with 443 claims filed. That’s a “a 270% increase in the number of pothole claims submitted to the city and a 241% increase in the amount of money paid on those claims,” says the Weekly, compared to a four-year average of the preceding years.

But before your blood pressure spikes, keep in mind that last winter was a doozy. Commenter “Rick from SDOT” (communications manager Rick Sheridan) was quick to note:  “In 2009 SDOT filled 6,504 potholes. In the first six months of 2011 alone SDOT filled 19,851 potholes.”

There are a number of things that have happened under McGinn’s administration–and some that didn’t happen–but it’s hard to see how decades-long neglect of Seattle’s roads can be pinned on him, or the city’s lack of money following the recession. (If Mayor McGinn is the real reason for the recession, and the Weekly has proof of that, I urge them to go public soonest, for all our sakes.)

The news here is not McGinn, but the City of Seattle’s resounding failure to deal with road maintenance in even a half-hearted fashion. Money flows to new road projects at the expense of keeping the roads we’ve already got in working condition. In December 2010, height of pothole season, I wrote about the refusal to make hard choices:

In Seattle, we can look around at our collapsing road infrastructure while we spend $50 million on the East Phase of the Mercer Street project. That bid came in 23 percent below estimates. Just for the record: $50 million for a single phase of a new project (totaling about $300 million), as compared to $23 million allocated for existing arterial asphalting. You can debate the merits of the project–they don’t call Mercer a mess for nothing–but what is clear is that embarking on new projects seriously compromises the city’s ability to maintain the roads we’ve already got.

But on the Council lately, only Nick Licata has really been fighting that fight. Rick Sheridan spells out the result of this kind of prioritization for you in his comment:

The large increase in the number of potholes is due to our aging roadways.  Take an old roadway and expose it to repeated freeze and thaw cycles, and you get potholes. The real answer to potholes is to address the backlog of paving needs from decades of underfunding.

That is why the Bridging the Gap levy has paid for 128.3 lane-miles of new roads from 2007-2010. You can see the results on streets such as Second Avenue, Fourth Avenue and Stewart Street in downtown, Elliot Avenue W and 15th Avenue W through Interbay, First Avenue S in SODO, and this year’s work on 15th Avenue NE in the University District. But the fact remains that Seattle’s backlog of deferred arterial maintenance stands at approximately $578 million. [emphasis added]

As you can tell, much of the recent activity has been centered on downtown arterials. SDOT explains: “In March of 2008 the Seattle City Council unanimously passed an accelerated paving plan so that downtown streets will be completed by 2012 when the Alaskan Way Viaduct replacement project begins.”

If Seattle was a private enterprise, McGinn would probably be bonused for looking after shareholders’ interests. Paying out not-quite $90,000 versus catching up on almost $600 million in arterial maintenance is the bargain of the century. Keep in mind that that is planned arterial maintenance alone; it’s not the cost of repaving crumbling city streets in general.

Interlaken Drive will be closed for six months or more, due to erosion over the winter.

Anyway, that $578 million is disheartening because the Bridging the Gap levy was supposed to catch us up on maintenance. It was to raise $365 million over nine years, with no less than 67 percent of that going for road maintenance. (Over the first four years, 73 percent has gone toward maintenance, per the 2010 annual report.) But the math indicates that we are not catching up; we are falling even farther behind. If after nine years, the city returns to taxpayers with an offer to extend Bridging the Gap “one more time,” who will want to take them up on it?

The fault lies not in our stars, but in the ratio of maintenance spending to new road projects. Until SDOT realigns around an identity as primarily a maintenance department, until the City of Seattle directs and funds SDOT accordingly, we are going to see roads, especially residential and side streets, continue to decline alarmingly. There is no plan for neighborhood streets, and no extra money for them when arterial repaving demand alone outpaces supply. That’s not even getting into the condition of sidewalks around the city.

Crazy.

Mariners’ Brendan Ryan Clowns Oakland A’s with “Infield Triple”

You just don’t realize how important some things are until you forget to do them. Change the oil. Back up the hard drive. Raise the debt ceiling. Or, in baseball, guard the bases. The Oakland A’s got a harsh lesson in this unspoken fundamental yesterday when Brendan Ryan executed the “just don’t stop running” strategy that is usually only effective in T-ball.

In the first inning, Ryan reached first base safely on an infield single deep in the hole behind third base. Then, noticing that A’s 2B Jemile Weeks had ranged far over toward first base in anticipation of an errant throw, and that SS Eric Sogard was ambling slowly back to his position from the leftfield grass with his head down, Ryan took off for second base. A’s 3B Scott Sizemore ran to cover the base, but arrived too late to even get a throw. Sizemore then dropped his head, failing to notice that he’d left third base uncovered. Ryan took off again, and slid into third without a throw. (Watch the play for yourself here.)

Those Safeco Field fans who’d been paying attention went wild with delight, and even stoic M’s manager Eric Wedge cracked a smile from the dugout.

Ryan then scored the first run of the game on Mike Carp’s double. The Mariners won 4-2, and now, just one week after losing their 17th consecutive game, are one win away from sweeping a three-game series against Oakland.

Misadventures and More at Annex Theatre’s Patty

Marianna de Fazio as Patty and Kelsey Yuhara as her super-powered friend Jen in Annex's The Strange Misadventures of Patty...

With a title like The Strange Misadventures of Patty, Patty’s Dad, Patty’s Friend Jen, and a Whole Bunch of Other People, Annex Theatre’s new production (through August 27; tickets: $5-$15) tips you off right away that it’s going to force some whimsy upon you. It’s not the worst thing to have pressed upon you, it’s just that there’s a compelling real-life drama at the heart of the play that all the kicky antics serve mainly to distract from.

In Allison Moore‘s play, directed by Amy Poisson, corporate economist Patty (Marianna de Fazio) is abruptly woken from her good-life autopilot by her estranged, alcoholic father’s stroke, and confronted by the complex series of negotiations rising from his new vulnerability and dependency. We don’t see her past experiences, just her bewildered, frustrated father (Jon Lee) mangling his way through explanations, justifications, and proud-papa-isms.

Lee and de Fazio are very good together; there’s almost a Method fierceness in Lee’s portrayal of an aphasic old man, previously stunned by his alcoholism. A reprobate’s cackle infiltrates his fond reminiscences of Patty’s childhood, but he can grow frighteningly angry as well.

This is kitchen-sink drama territory (lit by Jessica Trundy), with the brute reality of forms that need to be signed, care providers to be hired, and therapeutic modalities to be weighed. But these trials in the-world-as-it-is also supports the dramatic movement of the play, which is about a father and daughter struggling to learn how to speak with each other again. In Jennifer Zeyl’s thoughtful puzzle-box set, Patty’s dad’s apartment is recessed so that it can roll forward, making explicit his intrusion into her life. (Conversely, when it recedes, he’s out of mind.)

It can be heavy stuff, so the cartoon, ass-slapping comedy of Patty’s sexist workplace, if not all that funny, at least lightens the load briefly. That’s part of a subplot that might be titled “Patty Learns to Be Assertive and Express Her Anger,” which takes place mainly in a coffee shop. Jason Pead (who also plays Patty’s antediluvian boss) is the definitive barista-in-a-band. De Fazio makes a great straightwoman for Pead–she can hold her own with an awkward, arms-length cuddle with Lee, then shift gears for updated That Girl-style social comedy.

What never clicked for me, though, was the “zaniness” of Patty’s cancer-researcher roommate Jen (Kelsey Yuhara), who also has a variety of superpowers that she gives up using for the majority of the play to prove a point to her boyfriend Jack (Alec Wilson) that her accomplishments are her own. Costume designer Christine Meyer outfits Yuhara in Scott Pilgrim-worthy attire (and later outdoes herself with de Fazio’s ensemble), but there’s little reason for this character’s existence, dramatically, except as a foil for the presumed seriousness of economics-minded Patty. (Here’s the counterpoint position. It’s a matter of record that I stare blankly at the manufactured wacky and zany.)

The capably zany Juliet Waller Pruzan has choreographed a few numbers for the piece–some coming off better than others. The otherwise talented ensemble are not seasoned Broadway hoofers, and Waller Pruzan’s calls for quick, light heel taps looked a little labored on opening night. The scene at a dance club (that’s Robertson Witmer’s sound design), having a dramatic goal as well as a dance break, was kinder to the actors.

At the end, my companion said, “I give it a ‘meh.'” Nuances are important: I took that as a “I didn’t love it, but all right if you’re paying.” If you have some tolerance for Annex’s risk-taking on newer works, and even a guilty delight in the goofy, I think you might really enjoy the work. If, like me, you’re content to watch the outstanding performances of de Fazio and Lee, you may find that play within a play is enough for your $15.

Pete Carroll Completes Demolition of Seahawks

You’re bound to hear the term “rebuilding” if you hang around a sports fan for a few hours–especially a Seattle one. The construction analogy refers to the process of turning a losing team into a winning one. Last week, Seahawks head coach Pete Carroll and GM John Schneider took rebuilding to an extreme, dropping C4 on the edifice that was the Seahawks’ roster.

Starting quarterback Matt Hasselbeck, the face of the franchise: Gone, after being offered substantially more money by another team.

Starting middle linebacker Lofa Tatupu, often referred to as the “quarterback of the defense”: Gone, after refusing a pay cut.

The twin explosions completed Carroll’s disassembly of the franchise he took over in January 2010. Of the 89 players on the Seahawks roster then, only 17 are left. Folks, that’s 80 percent turnover. Makes Amazon.com look like the College of Cardinals.

And it makes Pete Carroll look like a bit of a jerk. Tatupu, who played under Carroll at USC, gave a heroic performance for his old coach in 2010–after playing injured all year, Tatupu needed surgery on both knees in the offseason. Yet the old ties and bravery didn’t mean a thing when Carroll decided Tatupu was making $1 million more than he was worth.

Hasselbeck moves to Tennessee, where he’ll mentor UW legend and NFL neophyte Jake Locker. The Seahawks’ new starting quarterback, free-agent signee Tarvaris Jackson, is a sort-of anti-Hasselbeck, possessing tremendous arm strength and foot speed, Hasselbeck’s biggest weaknesses, but lacking leadership skills and the ability to read defenses, Hasselbeck’s greatest strengths.

Why demolish the Seahawks? Because if an NFL team’s roster is a house, the NFL-mandated salary cap is the lot it sits on. In the perfect world, if you were building a dream home, you’d buy a new lot and live in your old house until construction was finished. Can’t do that in the NFL. The finite salary cap prevents you from buying new expensive players to pretty up the place while your old expensive players rust over. The best solution is to tear everything down and build it back up again.

Carroll’s moves improve the long-term outlook for the Seahawks, giving him the salary cap space to sign players that could be part of a winner two or three years from now. He signed offensive lineman Robert Gallery to a three-year contract; Gallery will lead an offensive line consisting of himself and four young, talented colleagues–all in their first or second seasons as starters, all drafted in the first or second round. Tall, fast, strong wide receiver Sidney Rice, just 24 years old, gets a five-year deal, he’ll be in his prime when the Seahawks (hopefully) reach maximum competitiveness in a couple of years.

And now the bad news. In the short-term, losing Tatupu and Hasselbeck makes the Seahawks worse. Hawks fans don’t need to be saving for playoff tickets–which is good, because with the franchise’s two most popular players gone, most will need $80 to drop on a new replica jersey.

For Seahawks fans, it’s likely to be a miserable year–we’re living in a construction zone. The roof leaks, the floorboards are warped, the damn knob on the bannister comes off every time we round the stairs. But seeing the work progress will give a little bit of satisfaction. And we can always take the weekend off and stay in a hotel (aka watch an Eagles game).

Superb Set of Voices Propels Seattle Opera’s Porgy & Bess

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Gordon Hawkins (Porgy) and Lisa Daltirus (Bess) in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

Angel Blue (Clara) and Donovan Singletary (Jake) in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

Gwendolyn Brown (Maria) in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

Jermaine Smith (Sportin’ Life) in Seattle Opera's Porgy and Bess (Photo: © Elise Bakketun)

Mary Elizabeth Williams (Serena) and Gordon Hawkins (Porgy) in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

Chorus and supernumeraries in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

Michael Redding (Crown) and Lisa Daltirus (Bess) in Seattle Opera's Porgy and Bess (Photo © Elise Bakketun)

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This summer’s superb production by Seattle Opera is one nobody should miss. Porgy and Bess (through August 20 at McCaw Hall; tickets here) is the American opera. This is about our country, a small group of our people, and despite it being set 70 years ago, the background is one we all recognize.

We recognize the songs, too: “Summertime,” “Bess, You is My Woman Now,” “It ain’t Necessarily So” are just three arias from Porgy which have found their way into the heads of countless Americans.

For years the opera was considered a hybrid, more a musical, and the recitatives taken out and replaced with speech, perhaps because the subject was homegrown, but George Gershwin who composed it, and Ira Gershwin and DuBose and Dorothy Heyward who wrote the libretto, intended it as a full-scale opera. Since 1976, that’s how it has been regarded, and that is where it belongs.

However, not everyone loves grand opera. Stories are often mythical or historical, set in another country in another era, often in another language (though with supertitles so we can understand what is going on) and not everyone is tuned into what can be a rarified art form.

Porgy and Bess, however, speaks to everyone.

There are 20 singing roles, and in Seattle Opera’s production every one is strong, from the smallest cameo like Strawberry Woman (sung by Ibidunni Ojikutu), to the nine principals. And the chorus! Gershwin gives a huge role to the chorus, and the new young singers who were auditioned last November to be this chorus have delivered in spades.

Gershwin stipulated that the entire cast, bar a few small speaking roles, be black, and in this country that dictum has been faithfully followed.

Seattle Opera’s general director, Speight Jenkins, has said that he wouldn’t present Porgy without the right lead roles, and for this, he was able to bring in a veteran Porgy, baritone Gordon Hawkins, who is no stranger to Seattle Opera (who will forget his Rigoletto?). His acting and powerful singing inhabit the role of this crippled man, though there is a bit wider vibrato these days in his voice. Soprano Lisa Daltirus (remember her as Tosca? Aida?) is his Bess, in a portrayal which shows her as, literally, a troubled, “scarlet” woman who tries to leave her abusive man, goes straight for a while with Porgy, but falls back when forcibly tempted. Her singing Saturday night was at the top of her form, as expressive as ever.

Opening the opera on a qualitative high note which never drops, soprano Angel Blue sings “Summertime” as Clara; soprano Mary Elizabeth Williams, one of Seattle Opera’s former Young Artists, shows that her promise as both singer and actor has arrived at fruition as Serena; tenor Jermaine Smith has impeccable timing, great acrobatics and fine singing as the natty dope peddler Sportin’ Life, while tenor Michael Redding embodies the smoldering menace of Crown, Bess’s dangerous lover; Donovan Singletary provides a beautiful and powerful bass-baritone as Clara’s husband Jake; tenor Michael Austin’s Robbins is yet another voice to be reckoned with., and contralto Gwendolyn Brown held the stage whenever she came to the fore, as Maria.

It’s worth mentioning every one of these singers is a performer it is sheer pleasure to hear, and you hope that they all will be returning to Seattle Opera in the future. All of them, the women particularly, sang with what I can only describe as a glorious green-gold iridescence to their vocal quality.

None of this would have come together as it did without the stage direction of Chris Alexander. He was the novice here, the only one who had never done this opera before, though he knew it well. The close rapport between him and the singers meant he could apply his considerable art at staging while they gave him their take on all sorts of details. The collaboration has been extremely successful.

Today’s digital possibilities added another dimension with the projection of the hurricane on a scrim at the front of the stage. For a while, the orchestra was silent while the fury of the storm and the pounding rain and scudding clouds traveled across the screen, and the sound of the howling winds masked the sound of scene changing behind it. More projections, including the aftermath of the storm with broken fishing boats, added to the overall ambience.

Sets by Michael Scott, lighting by Duane Schuler, and costumes by Christina Giannini all furthered the action, while John DeMain who conducted that first 1976 production of Porgy at Houston Grand Opera, and has conducted many since, did so here with a sure hand and expert pacing, the orchestra negotiating the difficult score with ease, while Beth Kirchhoff achieved miracles with her hardworking chorus.

It’s a fabulous production.