Outside the Kennedy Center, the American flag hung at half-mast as the nation mourned the death of Rosa Parks. Within the Kennedy Center, the plight of African Americans was being retold on the opera house stage. George Gershwin’s "Porgy and Bess" brings to life the sad tale of a crippled man and the woman he loved. While there are aspects of despair in several characters, the overall message is one of hope.

In Catfish Row, everyone knows everyone else’s business. The community watches as Clara (Laquita Mitchell) and Jake (Eric Greene) try to put their baby to sleep to the tune of "Summertime." They watch Serena (Angela Simpson) try to convince her husband, Robbins (Michael Forest), to not shoot craps with the men. And they see when Crown (Terry Cook) and his wife, Bess (Indira Mahajan), come stumbling into town, drunk and high on "happy dust." The people of Catfish Row shun Bess for her wild behavior, but Porgy (Gordon Hawkins), a crippled beggar, stands up for her.

As the craps game continues, Crown starts losing and becomes violent. In a fit of outrage he kills Robbins and then runs as the cops arrive. Bess is left to care for herself, but no one will welcome her into their home — except the crippled Porgy.

The African American spirituality is portrayed at Robbins’ funeral. Serena sings the beautiful ballad "My Man’s Gone Now" as she tries to raise enough money to bury her husband.

After the funeral, Porgy and Bess find a little bit of happiness together. Porgy buys Bess a divorce from Crown, and the community now accepts Bess since she’s cleaned up her act. Porgy’s "I Got Plenty O’ Nuttin’" displays his newfound joy in life. Unfortunately, it is a joy that is short-lived.

During the church picnic at Kittiwah Island, Bess runs into Crown who had been hiding there. She tells him she’s Porgy’s girl now, but he doesn’t listen and decides she is still his woman.

After this episode, Bess has a hard time returning to her happy life with Porgy. Sportin’ Life (Jermaine Smith), the local supplier of "happy dust," is always nearby to tempt her back to her former life.

According to the program notes, Director Francesca Zambello achieves a 20-year dream of hers to stage this opera.

"Gershwin recognized that ‘Porgy’ had that something that so many great operas have — a deeply personal story, but one set in the context of a larger society," Zambello said. She also decided to change the time period of the show from the original 1920s to the 1950s when civil rights issues were tense.

Conductor Wayne Marshall debuts with the Washington National Opera for this performance of "Porgy and Bess." With Gershwin’s upbeat music and unique instrumentation, including saxophones and a banjo, Marshall works with a genre that differs from the normal operatic style.

Peter J. Davison, set designer, brings to life the community of Catfish Row as a sort of prison for the people who live there. The large set creates a slightly claustrophobic feel, especially when the stage is filled with the inhabitants.

Costumes, designed by Paul Tazewell, display the poverty of the characters, but also their pride. As Bess changes from wild woman to Porgy’s woman, her costumes reflect her inner struggle. Lighting, designed by Natasha Katz, also increases the drama throughout the opera. The effects during the hurricane scene are especially impressive.

"Porgy and Bess" runs at the Kennedy Center through Nov. 19. For more information call 202/295-2400 or go to www.dc-opera.org.