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METRO STAGE COMPANY
A LITTLE NIGHT MUSIC Reviews
"A Little Night Music"
Reviewed by Tony Annicone
Metro-Stage Company's current show is "A Little Night Music" which is a musical with music and lyrics by Stephen Sondheim and a book by Hugh Wheeler.
It was inspired by Ingmar Bergman's film "Smiles of a Summer Night'' and involves the romantic lives of several couples. The title is a literal English
translation of the German name for Mozart's Serenade No. 13. "A Little Night Music" opened on Broadway on February 25, 1973, ran for 601 performances
and won the New York Drama Critics' Circle Award and Tony Award for Best Musical. A new Broadway production opened last December with Catherine
Zeta-Jones as Desiree and Angela Lansbury as Madame Armfeldt. Zeta-Jones won the Tony Award for her role. The musical is set in Sweden at the turn of
the 20th century. With a smile on its lips, a flirtation in its eye and a sweet melancholy in its heart, the show waltzes into the start of the last century with love.
It shows the myriad forms of desire, from the tender blossoming of inexperience to the startled rekindling of long forgotten passion. It is centered on the
lawyer Fredrik Egerman, blessed with an eighteen year old bride, an enchanting mistress and rivals in love, the plot ever thickening culminates in a
weekend at a country chateau. And through the first night, the strands of love twine, catching each muddled human, forming new bonds. And the summer
night smiles three times, first for the young, second for the fools and third for the old. Director Maryann Zschau casts the best 14 performers for these roles
and obtains outstanding performances from them. The show is rewarded with a standing ovation at curtain call.
Maryann blocks the show splendidly so you can see the performers at all times. She definitely knows how to direct a Sondheim show, blending the comic
and dramatic moments beautifully. Maryann makes her Boston directorial debut with this show, having directed numerous productions elsewhere in the
state. The show is made up of waltzes so every song is in 3/4 time and the show starts off with the wrong partners for the characters but by show's end
each character is finally with their right partner. Musical director Maria Duhaime not only plays the piano for this show but she taught the intricate Sondheim
score to her talented cast and directs a fantastic 5 piece orchestra. Rachel Bertone invents creative choreography for this show with the waltzes which open
and close the show and "Weekend in the Country" as one of the standout numbers. Stage manager Julia Dibernardo keeps things running smoothly all
night long. Neil Fortin created all the gorgeous period costumes especially impressive are the women's gowns and the inventive set design is by Kamilla
Kurmanbekova. A brief synopsis of the show is necessary for those unfamiliar with it. Fredrick is married to Anne who in turn is enamored of his fully grown
son, Henrik from a previous marriage. Finding himself playing a father figure rather than a husband, he is drawn back into the arms of ex-mistress Desiree
Armfeldt, an aging actress who is currently the jealously-guarded property of Count Carl-Magnus, a pompous dragoon married to the long-suffering
Charlotte who has a love-hate relationship with him yet aides and abets her husband in his not-so-clandestine affairs;Petra, the Egerman's lusty maid
starts out as Henrik's would-be teacher of love but ends up in the hay with Frid, a butler. Commenting on these proceedings is Desiree's elderly mother,
who has had affairs with royalty, Desiree's young daughter, Fredrika and a quintet.
The quintet is like a Greek chorus commenting on the events of the show in five part harmony. These five people execute their numbers splendidly. They
start off humming the overture and their stunning numbers include "Perpetual Anticipation", "Remember" and "The Sun Won't Set". Their harmonies soar
throughout the show. The quintet consists of mezzo-soprano, Alexandra Dietrich, tenor, Scott Keenan, soprano, Kathryn McKellar, alto,Jaime Steinbach and
baritone,Gary Ryan who also plays Frid the butler. The quintet also move the set pieces on and offstage. Tracy Nygard who looks like a young Zeta-Jones, is
spectacular as Desiree. She not only has the beauty for this role but has the acting and singing ability to carry off this demanding role,too. Tracy shows off
her lovely singing voice in "The Glamorous Life" and stops the show with her rendition of "Send in the Clowns" which leaves her and you in tears. She has
proven she can handle dramatic roles in "Man of La Mancha" and "Sorry Wrong Number" but shows off her comic side with the many sexual innuendos in
this show and her funny comments during "You Must Meet My Wife". Tracy's funniest moment occurs when she returns Fredrik's pants and shirt soaking wet
after the Count catches them together. Tracy and Jim are much better than Glynis Johns and Len Cariou who I saw in the original show back in 1974. Her
leading man, Jim Fitzpatrick who also played Don Quixote opposite her Aldonza, is marvelous as Fredrik. He plays the suave and debonair character
perfectly and has an excellent baritone voice. The trio of "Now", "Soon" and "Later" is fantastic with wonderful counterpoint singing by Jim, Joelle Kross as
Anne and John Koons as Henrik. His duet numbers "You Must Meet My Wife" with Tracy is hilarious as is "It Would Have Been Wonderful" with Robert Case.
Jim and Tracy make their finale number sweet and poignant, a fitting way to end this show.
Joelle who is a pretty Strawberry blond, plays the naive young wife beautifully. Her gorgeous soprano voice soars off the charts in her numbers. She
captures the capricious woman with ease and shows her steely determination later in the show. John has a phenomenal tenor voice which blends
excellently with Jim and Joelle in the trio number. Henrik is stoic at first then lets loose later in the show with abandon. Joelle and John's voices are
topnotch in their solo lines in the group numbers, too. Their best scene comes in their romantic scene when they decide to run off together. Robert Case is
terrific as Count Carl-Magnus. The character is a pompous boor and Robert knocks your socks off with his "In Praise of Women" with his powerful tenor
voice. He garners many laughs as this chauvinistic pig. His long suffering wife, Charlotte, is splendidly played by Shana Dirik, a stunning redhead who I
recently reviewed as Mother Superior in "Nunsense". Shana shows off her fantastic voice in the emotion packed "Every Day a Little Death" about why she
puts up with her husband's boorish behavior. She steals many scenes with her witty lines and delivery. Shana is very funny as she eggs Anne on to put one
over on Desiree. Mary O'Donnell is topnotch as the elderly Madame Armfeldt. She reprimands Desiree for her bad behavior, has tender scenes with her
granddaughter and delivers caustic comments in the second act during the party scene. Mary delivers a wonderful rendition of "Liasons" as she sings of the
many affairs she has had during her lifetime. Mary is much younger than Lenora Armfeldt. One of her funny lines to her granddaughter is "All Scandinavians
are insane". Lenni Kmiec, a statuesque brunette, plays the hot to trot maid, Petra. Her song "The Miller's Son" stops the show with it's hilarity. She sings
about enjoying what life has to give her while she can. Isabelle Miller who I first reviewed as Annie for Reagle Players in 2008 plays Desiree's daughter,
Fredrika. She shows off her fabulous singing voice in this show and is positively charming in this ingenue role. She just turned 13 on October 17. So for a
magnificent musical treat, be sure to catch Metro Stage Company's "A Little Night Music" before it waltz's out of town. Tell them Tony sent you.
Reviewed by Tony Annicone
Metro-Stage Company's current show is "A Little Night Music" which is a musical with music and lyrics by Stephen Sondheim and a book by Hugh Wheeler.
It was inspired by Ingmar Bergman's film "Smiles of a Summer Night'' and involves the romantic lives of several couples. The title is a literal English
translation of the German name for Mozart's Serenade No. 13. "A Little Night Music" opened on Broadway on February 25, 1973, ran for 601 performances
and won the New York Drama Critics' Circle Award and Tony Award for Best Musical. A new Broadway production opened last December with Catherine
Zeta-Jones as Desiree and Angela Lansbury as Madame Armfeldt. Zeta-Jones won the Tony Award for her role. The musical is set in Sweden at the turn of
the 20th century. With a smile on its lips, a flirtation in its eye and a sweet melancholy in its heart, the show waltzes into the start of the last century with love.
It shows the myriad forms of desire, from the tender blossoming of inexperience to the startled rekindling of long forgotten passion. It is centered on the
lawyer Fredrik Egerman, blessed with an eighteen year old bride, an enchanting mistress and rivals in love, the plot ever thickening culminates in a
weekend at a country chateau. And through the first night, the strands of love twine, catching each muddled human, forming new bonds. And the summer
night smiles three times, first for the young, second for the fools and third for the old. Director Maryann Zschau casts the best 14 performers for these roles
and obtains outstanding performances from them. The show is rewarded with a standing ovation at curtain call.
Maryann blocks the show splendidly so you can see the performers at all times. She definitely knows how to direct a Sondheim show, blending the comic
and dramatic moments beautifully. Maryann makes her Boston directorial debut with this show, having directed numerous productions elsewhere in the
state. The show is made up of waltzes so every song is in 3/4 time and the show starts off with the wrong partners for the characters but by show's end
each character is finally with their right partner. Musical director Maria Duhaime not only plays the piano for this show but she taught the intricate Sondheim
score to her talented cast and directs a fantastic 5 piece orchestra. Rachel Bertone invents creative choreography for this show with the waltzes which open
and close the show and "Weekend in the Country" as one of the standout numbers. Stage manager Julia Dibernardo keeps things running smoothly all
night long. Neil Fortin created all the gorgeous period costumes especially impressive are the women's gowns and the inventive set design is by Kamilla
Kurmanbekova. A brief synopsis of the show is necessary for those unfamiliar with it. Fredrick is married to Anne who in turn is enamored of his fully grown
son, Henrik from a previous marriage. Finding himself playing a father figure rather than a husband, he is drawn back into the arms of ex-mistress Desiree
Armfeldt, an aging actress who is currently the jealously-guarded property of Count Carl-Magnus, a pompous dragoon married to the long-suffering
Charlotte who has a love-hate relationship with him yet aides and abets her husband in his not-so-clandestine affairs;Petra, the Egerman's lusty maid
starts out as Henrik's would-be teacher of love but ends up in the hay with Frid, a butler. Commenting on these proceedings is Desiree's elderly mother,
who has had affairs with royalty, Desiree's young daughter, Fredrika and a quintet.
The quintet is like a Greek chorus commenting on the events of the show in five part harmony. These five people execute their numbers splendidly. They
start off humming the overture and their stunning numbers include "Perpetual Anticipation", "Remember" and "The Sun Won't Set". Their harmonies soar
throughout the show. The quintet consists of mezzo-soprano, Alexandra Dietrich, tenor, Scott Keenan, soprano, Kathryn McKellar, alto,Jaime Steinbach and
baritone,Gary Ryan who also plays Frid the butler. The quintet also move the set pieces on and offstage. Tracy Nygard who looks like a young Zeta-Jones, is
spectacular as Desiree. She not only has the beauty for this role but has the acting and singing ability to carry off this demanding role,too. Tracy shows off
her lovely singing voice in "The Glamorous Life" and stops the show with her rendition of "Send in the Clowns" which leaves her and you in tears. She has
proven she can handle dramatic roles in "Man of La Mancha" and "Sorry Wrong Number" but shows off her comic side with the many sexual innuendos in
this show and her funny comments during "You Must Meet My Wife". Tracy's funniest moment occurs when she returns Fredrik's pants and shirt soaking wet
after the Count catches them together. Tracy and Jim are much better than Glynis Johns and Len Cariou who I saw in the original show back in 1974. Her
leading man, Jim Fitzpatrick who also played Don Quixote opposite her Aldonza, is marvelous as Fredrik. He plays the suave and debonair character
perfectly and has an excellent baritone voice. The trio of "Now", "Soon" and "Later" is fantastic with wonderful counterpoint singing by Jim, Joelle Kross as
Anne and John Koons as Henrik. His duet numbers "You Must Meet My Wife" with Tracy is hilarious as is "It Would Have Been Wonderful" with Robert Case.
Jim and Tracy make their finale number sweet and poignant, a fitting way to end this show.
Joelle who is a pretty Strawberry blond, plays the naive young wife beautifully. Her gorgeous soprano voice soars off the charts in her numbers. She
captures the capricious woman with ease and shows her steely determination later in the show. John has a phenomenal tenor voice which blends
excellently with Jim and Joelle in the trio number. Henrik is stoic at first then lets loose later in the show with abandon. Joelle and John's voices are
topnotch in their solo lines in the group numbers, too. Their best scene comes in their romantic scene when they decide to run off together. Robert Case is
terrific as Count Carl-Magnus. The character is a pompous boor and Robert knocks your socks off with his "In Praise of Women" with his powerful tenor
voice. He garners many laughs as this chauvinistic pig. His long suffering wife, Charlotte, is splendidly played by Shana Dirik, a stunning redhead who I
recently reviewed as Mother Superior in "Nunsense". Shana shows off her fantastic voice in the emotion packed "Every Day a Little Death" about why she
puts up with her husband's boorish behavior. She steals many scenes with her witty lines and delivery. Shana is very funny as she eggs Anne on to put one
over on Desiree. Mary O'Donnell is topnotch as the elderly Madame Armfeldt. She reprimands Desiree for her bad behavior, has tender scenes with her
granddaughter and delivers caustic comments in the second act during the party scene. Mary delivers a wonderful rendition of "Liasons" as she sings of the
many affairs she has had during her lifetime. Mary is much younger than Lenora Armfeldt. One of her funny lines to her granddaughter is "All Scandinavians
are insane". Lenni Kmiec, a statuesque brunette, plays the hot to trot maid, Petra. Her song "The Miller's Son" stops the show with it's hilarity. She sings
about enjoying what life has to give her while she can. Isabelle Miller who I first reviewed as Annie for Reagle Players in 2008 plays Desiree's daughter,
Fredrika. She shows off her fabulous singing voice in this show and is positively charming in this ingenue role. She just turned 13 on October 17. So for a
magnificent musical treat, be sure to catch Metro Stage Company's "A Little Night Music" before it waltz's out of town. Tell them Tony sent you.
"A Little Night Music"
A Night to Remember
Reviewed by Sheila Barth
I hope you saw Metro Stage’s production of Stephen Sondheim’s 1973 multi-award winning, oft-revived, musical, “A Little Night Music,” during its brief run
last week at the Cambridge Family YMCA Theater in Cambridge.
Director Maryann Zschau, an award-winning actress in her own right, amassed a fabulous professional cast and musicians who collectively whisked away
the revived production’s three hours with levity, romance, and memorable music.
A five-piece Greek chorus, or Liebeslieders, composed of Alexandra Dietrich, Scott Keenan, Kathyrn McKellar, Jaime Steinbach and Gary Ryan, (who
doubles as Mme. Armfeldt’s manservant, Frid), fill in the story’s blanks, moving it seamlessly from scene to scene.
Lenni Kmiec as Petra, Frid’s new love and Fredrik Egerman’s maidservant, adds sauciness and naughtiness. She especially shines in her solo, “The
Miller’s Son”.
Besides Zschau’s eagle-eyed direction, Neil Fortin’s 1900’s costumes are gorgeously definitive of each character. James Fitzpatrick as successful, middle-
aged lawyer, Fredrik Egerman, is gentlemanly and privileged; while his lanky, self-deprecating, unsure 20-year-old son, Hendrik,(John Coons) wears a
clerical collar, with his ill-fitting clothes, insisting he’s entering the seminary, thereby hoping to hide his awkwardness and his adoration of his virgin
stepmother of 11 months, Anne. “It’s intolerable being tolerated,” he sings, frustrated.
Anne Egerman, (Joelle Cross), Fredrik’s pretty, petite 18-year-old trophy bride, is flighty, childlike more concerned about her pretty, lacy dresses, and fearful
of consummating her marriage. She’s a sharp contrast to her romantic foil, Fredrik’s longtime, flamboyant actress-lover, Desiree Armfeldt, whom veteran
actress Tracy Nygard portrays with style.
Although Desiree’s life appears glamorous to her fans and admirers, she laments touring, traveling, and traipsing around in “The Glamorous Life”.
In the second act, Nygard delivers a heartfelt rendition of the show’s most famous song, “Send in the Clowns,” that had many theatergoers in tears.
Desiree’s young daughter, Fredrika, is appropriately attired in young girl’s frocks. Pretty Isabelle Miller, (who turned 13 years old on Oct. 17), charmingly
portrays Fredrika, with poise, a wink, and air of innocence.
Actress Shana Dirik is pivotal and prominently delightful as Charlotte, wise-cracking, ignored wife of pompous dragoon, Count Carl-Magnus Malcolm
(Robert Case). He has “a brain the size of a pea,” and is having an affair with Desiree. Despite her showy outfits and makeup, Charlotte is overlooked by the
Count, who struts around in his epaulets, brass buttons, sash, and other military regalia.
Regretting her lost romantic liaisons, choosing money over love, is Desiree’s elegantly clothed mother, Madame Armfeldt, whom Mary O’Donnell portrays
with a fine balance of wisdom and sarcasm. Unfortunately, the six-piece orchestra, led by Maria Duaime, couldn’t adjust to O’Donnell’s vocal range during
her solo, “Liaisons,” causing her to sing in a range that was too low for her. Overall, though, the orchestra was superb.
The sparse stage, save a few lacy-designed, symbolic triangles that the actors continuously moved about as props, enabled the entire ensemble to sing
and dance freely during numbers choreographed by Rachel Bertone.
And the cast admirably performed Sondheim’s difficult melodies, while they explored each character’s flaws, strengths, innuendos, quirks, interactions and
convoluted relationships. A few theatergoers said they never understood the significance of the lyrics or some scenes, but at Metro Stage, the plot was
clear. There was no need to “Send in the Clowns”.
A Night to Remember
Reviewed by Sheila Barth
I hope you saw Metro Stage’s production of Stephen Sondheim’s 1973 multi-award winning, oft-revived, musical, “A Little Night Music,” during its brief run
last week at the Cambridge Family YMCA Theater in Cambridge.
Director Maryann Zschau, an award-winning actress in her own right, amassed a fabulous professional cast and musicians who collectively whisked away
the revived production’s three hours with levity, romance, and memorable music.
A five-piece Greek chorus, or Liebeslieders, composed of Alexandra Dietrich, Scott Keenan, Kathyrn McKellar, Jaime Steinbach and Gary Ryan, (who
doubles as Mme. Armfeldt’s manservant, Frid), fill in the story’s blanks, moving it seamlessly from scene to scene.
Lenni Kmiec as Petra, Frid’s new love and Fredrik Egerman’s maidservant, adds sauciness and naughtiness. She especially shines in her solo, “The
Miller’s Son”.
Besides Zschau’s eagle-eyed direction, Neil Fortin’s 1900’s costumes are gorgeously definitive of each character. James Fitzpatrick as successful, middle-
aged lawyer, Fredrik Egerman, is gentlemanly and privileged; while his lanky, self-deprecating, unsure 20-year-old son, Hendrik,(John Coons) wears a
clerical collar, with his ill-fitting clothes, insisting he’s entering the seminary, thereby hoping to hide his awkwardness and his adoration of his virgin
stepmother of 11 months, Anne. “It’s intolerable being tolerated,” he sings, frustrated.
Anne Egerman, (Joelle Cross), Fredrik’s pretty, petite 18-year-old trophy bride, is flighty, childlike more concerned about her pretty, lacy dresses, and fearful
of consummating her marriage. She’s a sharp contrast to her romantic foil, Fredrik’s longtime, flamboyant actress-lover, Desiree Armfeldt, whom veteran
actress Tracy Nygard portrays with style.
Although Desiree’s life appears glamorous to her fans and admirers, she laments touring, traveling, and traipsing around in “The Glamorous Life”.
In the second act, Nygard delivers a heartfelt rendition of the show’s most famous song, “Send in the Clowns,” that had many theatergoers in tears.
Desiree’s young daughter, Fredrika, is appropriately attired in young girl’s frocks. Pretty Isabelle Miller, (who turned 13 years old on Oct. 17), charmingly
portrays Fredrika, with poise, a wink, and air of innocence.
Actress Shana Dirik is pivotal and prominently delightful as Charlotte, wise-cracking, ignored wife of pompous dragoon, Count Carl-Magnus Malcolm
(Robert Case). He has “a brain the size of a pea,” and is having an affair with Desiree. Despite her showy outfits and makeup, Charlotte is overlooked by the
Count, who struts around in his epaulets, brass buttons, sash, and other military regalia.
Regretting her lost romantic liaisons, choosing money over love, is Desiree’s elegantly clothed mother, Madame Armfeldt, whom Mary O’Donnell portrays
with a fine balance of wisdom and sarcasm. Unfortunately, the six-piece orchestra, led by Maria Duaime, couldn’t adjust to O’Donnell’s vocal range during
her solo, “Liaisons,” causing her to sing in a range that was too low for her. Overall, though, the orchestra was superb.
The sparse stage, save a few lacy-designed, symbolic triangles that the actors continuously moved about as props, enabled the entire ensemble to sing
and dance freely during numbers choreographed by Rachel Bertone.
And the cast admirably performed Sondheim’s difficult melodies, while they explored each character’s flaws, strengths, innuendos, quirks, interactions and
convoluted relationships. A few theatergoers said they never understood the significance of the lyrics or some scenes, but at Metro Stage, the plot was
clear. There was no need to “Send in the Clowns”.
The Games We Play
A Minority Report by Janine de Souza
One of the songs that I grew up with was “Send in the Clowns,” Sondheim’s only Top 40 hit by Judy Collins. Like any good teenager, I was completely
oblivious to what the lyrics meant. Now I know. One of life’s little mysteries is solved. The Metro Stage Company’s production of A LITTLE NIGHT MUSIC is a
revelation on many levels.
Sondheim’s A LITTLE NIGHT MUSIC (with book by Hugh Wheeler) explores the romantic lives of Scandinavians under the influence of the midnight sun. In
particular, the story focuses on Desiree Armfeldt (Tracy Nygard), her mother, Madame Armfeldt (Mary O’Donnell), and Desiree’s young daughter, Fredrika
(Isabelle Miller). Desiree, a once-famous actress, is now toiling away in the dregs of the theatrical world. Her mother, disgusted by her daughter’s self-
absorbed ways, has custody of her only child. By chance, the actress encounters her former lover, Fedrik Egerman (James Fitzpatrick) with his new virginal
wife, Anne Egerman (Joelle Kross). In no time, the past lovers reunite, but not without some entertaining entanglements. Desiree’s current lover, Count Carl-
Magnus Malcolm (Robert Case) takes issue with this new wrinkle and his poor wife (Shana Dirik) suffers his jealousy. Even the maid (Lenni Kmiec) and
manservant (Gary Ryan) get some action! Sir Walter Scott wasn’t Scandinavian, but he should have been. He put it best…“Oh! What a tangled web we
weave; when first we practice to deceive.”
Under the direction of Maryann Zschau, Metro Stage puts Sondheim’s wit to work and I doesn’t miss a joke. I have seen other productions of this and most
of Sondheim’s brilliant lines go unnoticed. Here, clear diction and compelling performances made me laugh, care, and connect. Someone next to me even
shed a few tears!
A Minority Report by Janine de Souza
One of the songs that I grew up with was “Send in the Clowns,” Sondheim’s only Top 40 hit by Judy Collins. Like any good teenager, I was completely
oblivious to what the lyrics meant. Now I know. One of life’s little mysteries is solved. The Metro Stage Company’s production of A LITTLE NIGHT MUSIC is a
revelation on many levels.
Sondheim’s A LITTLE NIGHT MUSIC (with book by Hugh Wheeler) explores the romantic lives of Scandinavians under the influence of the midnight sun. In
particular, the story focuses on Desiree Armfeldt (Tracy Nygard), her mother, Madame Armfeldt (Mary O’Donnell), and Desiree’s young daughter, Fredrika
(Isabelle Miller). Desiree, a once-famous actress, is now toiling away in the dregs of the theatrical world. Her mother, disgusted by her daughter’s self-
absorbed ways, has custody of her only child. By chance, the actress encounters her former lover, Fedrik Egerman (James Fitzpatrick) with his new virginal
wife, Anne Egerman (Joelle Kross). In no time, the past lovers reunite, but not without some entertaining entanglements. Desiree’s current lover, Count Carl-
Magnus Malcolm (Robert Case) takes issue with this new wrinkle and his poor wife (Shana Dirik) suffers his jealousy. Even the maid (Lenni Kmiec) and
manservant (Gary Ryan) get some action! Sir Walter Scott wasn’t Scandinavian, but he should have been. He put it best…“Oh! What a tangled web we
weave; when first we practice to deceive.”
Under the direction of Maryann Zschau, Metro Stage puts Sondheim’s wit to work and I doesn’t miss a joke. I have seen other productions of this and most
of Sondheim’s brilliant lines go unnoticed. Here, clear diction and compelling performances made me laugh, care, and connect. Someone next to me even
shed a few tears!
Here Comes the Sun Again By Beverly Creasey
When it premiered in 1973, A LITTLE NIGHT MUSIC (playing at the Cambridge YMCA thru Oct. 23rd) was unique for its unusual score, in 3/4 (waltz) time and
for its overture, sung by the chorus. Thirty-seven years later, A LITTLE NIGHT MUSIC is a guilty pleasure: a hearty helping of sardonic Sondheim wit served
over James Lapine’s lovely book (inspired by the Ingmar Bergman film).
The Metro Stage production has a delightful cast to pose as restless Scandinavians—whose antidote to endless days in the land of the midnight sun
appears to be romantic liaisons. To add to their troubles, everyone seems to be involved with the wrong person. Fredrik thinks he adores his child bride.
His son, too, loves his father’s bride. The Count thinks he wants Desiree but Desiree loves Fredrik. Talk about lover’s knots! Untangling the couples is the
real joy of A LITTLE NIGHT MUSIC.
Metro has four solid performers in the lead roles so that any combination of the four creates sparks. James Fitzpatrick as Fredrik and Robert Case as the
count lock horns in pursuit of Tracy Nygard as Desiree. Case and Shana Dirik lock horns as husband and wife…and Fitzpatrick and Nygard lock arms as
lovers in times past. Everyone knows Send in the Clowns (Sondheim’s only crossover pop chart hit) but Nygard gives it new, tragic life. If you need one
reason to see Metro’s production, Nygard is it.
Director Maryann Zschau (who has played Desiree herself) gets charming performances from the whole ensemble, especially from John Coons as Fredrik’
s smitten son, enamored of Joelle Kross as the immature child bride…and from Mary O’Donnell as the wise grandmama to Desiree’s daughter, sweetly
portrayed by Isabelle Miller. Kudos to Neil Fortin (with help from Richard Itczak) for the sumptuous period costumes, to Rachel Bertone for the elegant
waltzes and to Maria Duaime for the gorgeous music.
When it premiered in 1973, A LITTLE NIGHT MUSIC (playing at the Cambridge YMCA thru Oct. 23rd) was unique for its unusual score, in 3/4 (waltz) time and
for its overture, sung by the chorus. Thirty-seven years later, A LITTLE NIGHT MUSIC is a guilty pleasure: a hearty helping of sardonic Sondheim wit served
over James Lapine’s lovely book (inspired by the Ingmar Bergman film).
The Metro Stage production has a delightful cast to pose as restless Scandinavians—whose antidote to endless days in the land of the midnight sun
appears to be romantic liaisons. To add to their troubles, everyone seems to be involved with the wrong person. Fredrik thinks he adores his child bride.
His son, too, loves his father’s bride. The Count thinks he wants Desiree but Desiree loves Fredrik. Talk about lover’s knots! Untangling the couples is the
real joy of A LITTLE NIGHT MUSIC.
Metro has four solid performers in the lead roles so that any combination of the four creates sparks. James Fitzpatrick as Fredrik and Robert Case as the
count lock horns in pursuit of Tracy Nygard as Desiree. Case and Shana Dirik lock horns as husband and wife…and Fitzpatrick and Nygard lock arms as
lovers in times past. Everyone knows Send in the Clowns (Sondheim’s only crossover pop chart hit) but Nygard gives it new, tragic life. If you need one
reason to see Metro’s production, Nygard is it.
Director Maryann Zschau (who has played Desiree herself) gets charming performances from the whole ensemble, especially from John Coons as Fredrik’
s smitten son, enamored of Joelle Kross as the immature child bride…and from Mary O’Donnell as the wise grandmama to Desiree’s daughter, sweetly
portrayed by Isabelle Miller. Kudos to Neil Fortin (with help from Richard Itczak) for the sumptuous period costumes, to Rachel Bertone for the elegant
waltzes and to Maria Duaime for the gorgeous music.