With a breathtaking production of “A Little Night Music” Julianne Boyd puts a punctuation mark on her 28 years of being the founding artistic-producing director of Barrington Stage Company.
Since she is retiring at the end of the season you might think it would be marked with a period. Instead it’s an exclamation point. It could be argued that this is one of the finest productions in the history of the theater.
This is, for me, certainly the most memorable. The production is gorgeous. The costumes amazingly beautiful as well as character defining. The acting is solid and the singing voices amazing. Emotionally it is a production that will affect you for days. Even on Broadway there are few shows you want to see again right away. I hope to get to see the show again before it closes on August 28.
There is no argument that it is the best sung show I’ve seen at Barrington Stage. When combined with one of Stephen Sondheim’s most romantic works it’s hard to deny its beauty. Too, since the work is based on the Ingmar Bergman film “Smiles of a Summer Night,” you also know it’s filled with thoughtful insights. Because the work centers on showing the foolish behavior of people of all ages when they fall in love, you also know it is played with sophisticated humor.
The first act of the piece sets up the wrongness of everyone’s relationship. The basics are Fredrik, a middle-age lawyer has a 18 year old bride who has not yet consummated their 11-month marriage. Subliminally she loves his son who is her age, and that love is reciperated.
Meanwhile Fredrik again takes up with Desiree, a former lover and famous actress. She in turn is having an affair with a buffoonish and extremely jealous Count. The Count’s wife is aware of his indiscretions, and happily tries to sabotage his relationship with Desiree by flaunting herself over Fredrik.
In the second act everyone spends a weekend at the home of the wealthy, elegant, elderly Madame Armfeldt, the mother of Desiree. She lives in splendor with Desiree’s daughter Frederika.
Everyone in the cast is ideal. As Desiree Emily Skinner is beautiful and worldly independent. Not only does she own the character but her second act version of “Send in the Clowns” stops the show. She makes it clear that if you haven’t heard this song sung in a play you really haven’t heard it.
Though “Send in the Clowns” is the song you’ll leave humming, it is the voice of Sabina Collazo you’ll be most impressed with. She captures the giddy immaturity of the young wife Anne but her voice is mature beyond her age. Her duet “Every Day a Little Death” with Sierra Boggess, as Charlotte, the Count’s wife is delightful as it is beautiful. Not so incidentally, Boggess is a charmer throughout the production adding wit, humor and a sense of her sad life to her portrayal.
Any sadness in living life is off-set by Mary Beth Peil’s Madame Arnfeldt. The elderly woman has lived a rich, uninhibited life and with age she has gained the wisdom of understanding what is important in life. It is said she does not suffer fools gladly, but she does smiles at their futility. She can do this because she understands the root of a happy, content existence is participating in all life has to offer. It’s a lovely portrait of a woman who loves life but does not fear death.
This is a musical that is dominated by the women. It is not only that they have the more insightful roles, they have the more memorable songs. Sophie Mings as the minor character Petra, knocks it out of the park with her number “The Miller’s Son.”
The men are little more than plot devices. They make important contributions, but their emotional moments are less effective. Jason Danieley as the lawyer Fredrik is a solid decent man, who is a realist who can wonder why he should ask to be rescued, when he doesn’t really want to be saved. He has a terrific singing voice, but it is compliment to say Danieley’s best moments are when he plays the foil. Cooper Grodin gets laughs as the boorish Count, as does Noah Wolfe as the frustrated son Henrik.
But in this production, backstage is as important as are the performers. Sara Jean Tosetti’s costumes are show-stopping, Yoon Bae’s set is functional yet attractive and David Lander’s lighting unites all the key scenic elements.
While Sondheim’s music is a pleasure for the ear, they can be brutish for performers. Musical Director Darren R. Cohen does a masterful job making tough look easy. The same is true for Robert La Fosse’s choreography. The five person ensemble plays a critical role, especially in the transitions. La Fosse uses them gracefully and beautifully.
And of course there is the direction, about which all I can say is it is representative of 28 years of Julianne Boyd bringing the highest quality of theater to the area.
“A Little Night Music” at Barrington Stage Company in Pittsfield, MA. For tickets and schedule information go to barringtonstageco.org or call 413-236-8888.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
