(out of 
)There are some musicals that can fudge the age barrier. College kids can become the gangsters that populate Guys and Dolls, or the older folk in shows like Hello Dolly! and Cabaret. Even some performers are ageless, and seem believable as 20 or 60. Unfortunately, Stephen Sondheim and Hugh Wheeler's A Little Night Music is not one of those musicals, and none of the actors that Director Graham Whitehead has cast in this Arizona State University Lyric Opera Theater production are of the ilk that can pull off the many middle-aged and senior characters that populate this look at turn-of-the-century Sweden. Also unfortunately, the production is marred by David Temby's hideous Sound Design, which treated the audience to deafening feedback and over-amplified singing, as well as some odd directorial choices by Mr. Whitehead. And yet, despite those problems, and more, there are definite moments where this darkly beautiful musical soars.
Containing one of the most recognizable musical theatre songs,
"Send in the Clowns," A Little Night Music
is a waltz-filled treat that follows the romantic intrigues surrounding
a lawyer and his young wife, a dragoon and his woeful wife, and
the successful actress that they long for in early 20th century
Sweden.
Part of the problem of the ages is exacerbated by the inability
of those unfamiliar with the script to catch relationships in
the show. Several women behind me loudly and avidly discussed
who was related to who, though it's difficult when the actress
playing the mother looks as young as her daughter, and the actor
playing the lawyer sounds like the brother of the actor playing
his son. Inconsistencies abound, especially in Carol Simmon's
Hair and Makeup Design, as the oldest member of the dramatis
personae has dark hair and no visible age makeup, while the
middle-aged lawyer sports a pathetic grey moustache and unbelievable
greying on his temples, even while sounding every bit like a teenager.
As an actor played closer to their age, their performance worked
better.
Mr. Whitehead is a director who is not afraid to take chances,
and his risks either succeed wonderfully, as in his staging of
the second act dinner party/gossip scene, and the coming together
of the various plots at the end of the first act in "A Weekend
in the Country"; or, they miss the mark completely, as in
his work with Lighting Designer Michael Eddy that seemed
to leave actors in the dark when singing but not the center of
attention of the scene, especially during the play-within-a-play
montage.
Highlights from the cast were another stellar performance by Kelly
Dwight, last seen playing the sweet Polly in LOT's The Boy Friend, as the eighteen
year-old and much-too-pure wife, Anne, Jeanine Boliak as
the bawdy serving maid Petra, performing a star turn with the
delightful "The Miller's Son," and Amy Hackerd
as the put-upon wife of the dragoon, Charlotte. Also solid was
Kristi Smith as sought-after actress Desiree, although
she never tried to "act her age" and miscued the most
famous song of the show, Robby Sharpe as the skulking son,
Henrik, and the most believably cast character in the show, Desiree's
daughter, Frederika, performed by Lauren Van Assche.
Valiant efforts were attempted by Jeffrie Allan as the
middle-aged lawyer, Frederick, Jason Paul as the oafish
dragoon, Count Carl-Magnus, and Andrea Floer as the aged
paramour, Madame Armfeldt, but they were hopelessly miscast, and
a source of irritation and just-plain incorrect acting choices.
As an example, Ms. Floer looked absolutely spry but attempted
to sound old by putting a silly-sounding quiver in her voice that
detracted from her performance. Mr. Paul seems to have mistaken
stiff acting for acting stiff, while Mr. Allan's unbelievably
youthful voice did justice to the songs even as it undercut what
little age credibility he had.
Adding insult to injury, while William Reber's orchestra
sounded absolutely lush, it also overwhelmed some of the performers
onstage. While Esther Turner's costumes were nearly perfect
for the timing and characters, Gary L. Campbell's necessary,
though ill-advised use of a revolve with a rather loud motor,
and simple columns and flies that wisely recreated the many different
locales, yet without ever evoking a sense of place, ultimately
did nothing to enhance the show's locale.
Again, though, while there were many little things fighting against
this production, the show does have its moments, which makes this
a melancholy evening. The power of the ending number of the first
act is a beautiful moment, even as the flaws are constantly recurring.
For those who enjoy Sondheim, or aren't put off by youngsters
playing make-believe, this is a worthwhile show, but for those
who are more interested in a fully-integrated, working musical,
this maybe one to miss.
Production Details:
A Little Night Music Book by Hugh Wheeler, Music
and Lyrics by Stephen Sondheim
ASU Lyric Opera Theatre
The ASU Music Theatre, Tempe
(602) 965-6647
February 26th - March 7th, 1999