A beautiful 'Night' 'A Little Night Music' waltzes elegantly on TheatreWorks stage
2008-10-03
When "A Little Night Music;" with music and lyrics by Broadway icon Stephen Sondheim and book by Hugh Wheeler, was first staged in 1973, one Broadway critic was concerned by Mr. Sondheim's use of the waltz tempo and operatic format in the production, noting that it was "happily discarded in the 1920s."
How wrong that reviewer was, as the show, inspired by Ingmar Bergman's 1955 film "Smiles of a Summer Night," won six Tony Awards that year, including Tony's Triple Crown for Best Score, Best Book, and Best Musical.
Fortunately for local residents, a trip to Broadway is not necessary for phenomenal entertainment, as TheatreWorks New Milford presents a sophisticated and enchanting production of "A Little Night Music." The show gracefully waltzed onto the New Milford stage last weekend and will continue through Oct. 26. Under the direction of Bradford Blake, with musical direction by Charles Smith, a large and very talented cast brings the show to life with operatic richness and boisterous comedy—its themes running the gamut from sex and free expression of desire, to self awareness, chastity and fidelity Set in turn-of-the-last-century Sweden, the story revolves around several couples, starting with Fredrik Egerman (Bruce Tredwell), a middle-aged, lawyer whose 11-month, unconsummated marriage to 18-year-old Anne (Jessica Stewart) is in distress. More interesting yet is Fredrik's 18-year-old son, Henrik (Brendan Padgett), a young seminary student secretly in love with his stepmother. Leaving sweet sentimentality at the door, this part-romance, part-farce grows more intriguing when this love triangle becomes a quadrangle, with the introduction of actress Desiree Armfeldt (Susan Pettibone). Desiree, Fredrik's former lover, is currently the lover of underwhelming, intellectual Count Carl-Magnus Malcolm (Mark Feltch). Further complicating matters is his wife, the rueful Countess Charlotte Malcolm (Priscilla Squiers), who has long been suffering from the Count's infidelity.
The first act of the show sets everything in motion, introducing the audience to the characters and their individual dreams and desires through clever lyrics and craftily placed literary allusions. There is also an introduction to the unusual relationship between Desiree, her mother, the outspoken Madame .Armfeldt (Jane Farnol), and her daughter, Fredrika (Becca Myhill). It all comes to a head when all decide it is time for "A Weekend in the Country," the first act's finale. All hell breaks loose as liaisons are revealed and lovers become consumed with passion and desire at a country estate – ultimately coming to, as theatre literature aptly states, "a heartfelt climax."
As young Henrik, the show's conscience, notes in the first act's closing song, "A weekend in the country, the bees in their hives/ The shallow worldly figures, the frivolous lives/ The devil's companions know not whom they serve/ It might be instructive to observe."
Mr. Blake has done a wonderful job in finding the, right-cast—some returning favorites and several new faces. While there were a few pitch problems here or there opening night, it should be said that this is among Mr. Sondheim's most challenging musicals. The composer is known for giving his performers mouthfuls of lyrics to be sung quickly and succinctly with few opportunities to breathe, but the TheatreWorks cast rose to the occasion beautifully.
Of particular note are the leads, including Ms. Stewart (last seen in TheatreWorks' "Medea") as the naive, somewhat wide-eyed but genuine Anne; Mr. Padgett's straight-laced and very witty portrayal of the celibate Henrik; and the subtly of Mr. Tredwell's portrayal of Fredrik. Among the most amusing duets is "It Would Have Been Wonderful," between the conservative Fredrik and the somewhat bumbling villain, Count Malcolm, taken to hilarious heights by Mr. Feltch, who is no stranger to the TheatreWorks Their comic timing and intonation couldn't have been more spot on.
Of course, no one could forget the Countess' humorously hare-brained plot to foil her husband's weekend in the country and her drunken debauchery, portrayed wonderfully by Ms. Squiers.
Pleasant musical surprises on opening night abounded including Jane Farnol's wonderfully executed "Liaisons" and Jackie Decho-Holm's beautiful rendition of "The Miller's Son" in the second act. To forget the ensemble cast of voices—Ron Dukenski, Greg McMahan, Catherine McCollian, Jessica Smith, Jody Bayer, Joel Romanelli, Billy Hicks, Stacy Lee Erickson and Laura Gilbert would be unforgivable.
But the night belonged musically to Susan Pettibone as Desiree. Ms. Pettibone is no stranger to the TheatreWorks stage, nor to Sondheim, having portrayed Mrs. Lovett in TheatreWorks' 2001 production of Mr. Sondheim's "Sweeney Todd." Ms. Pettibone has a natural lilt to her voice that lent a haunting resonance to "A Little Night Music's" most popular ballad, "Send in the Clowns."
Director Bradford Blake and musical director Charles Smith have created a harmonious and endearing production, the orchestra never overpowering the cast. From musical direction to choreography, down to the gorgeous costumes designed by Leslie Neilson-Bowman, "A Little Night Music" is easy on the eyes and ears. Though the set is not the most complicated in TheatreWorks' history— although they make clever use of the stage's revolving turntable— it adds a whimsical quality to this wildly romantic musical comedy. If you love your romance unconventional, your comedy riotous and your musical theater enchantingly ribald, waltz, don't walk to TheatreWorks. "A Little Night Music" is a wondrous and humorous night of theater.