Past Reviews

Regional Reviews: Florida - Southern

A Little Night Music
(in concert)

Palm Beach Dramaworks


Kim Cozort Kay and William Michals
When one attends a Balanchine "leotard ballet", one can be in awe of "just" the choreography, without the interfering accoutrements: scenery, cumbersome costumes, etc. When one attends a "staged concert," one can concentrate on the work itself. Sondheim and y Hugh Wheeler's A Little Night Music stands so beautifully on its own that one can only revel at its structure and brilliance.

Dramaworks has done several script-in-hand concerts the past several summers, with varying degrees of success. Night Music joins the "success" column—in spite of several bothersome caveats.

I thought that I would miss the lushness of Mr. Sondheim's, now played by a trio (and sometimes a quartet when the oboist joined in) of piano, cello, and violin. Not to worry. The musical director Kevin David Thomas, on piano, leads his musicians Christopher Glansdorp, Phil McArthur, and (sometimes on oboe) Georgia Mallory Guy as if it were the Philharmonic. The result is magical.

Staged with the trio/quartet upstage center, and music stands to their right and left, the actors (who were obviously cast for their vocal abilities rather than their acting talents), lest the few who understood what they were saying) move through the obstacle course with grace and, more importantly, style. Costumes by Linda C. Shorrock are appropriate to the era, and scenery by Dustin Hamilton is, practically, non-existent, save for a few projections by Sean Lawson.

As for the performances, as aforementioned, the cast except, thankfully, for the three leads, seem to have been cast strictly for vocal talent and there is not a weak singer in the cast of 14. As for those leads, William Michals, as Fredrik, is superb. Oozing effortless sex appeal, a beautiful baritone, and an easy way of underplaying, he is the centerpiece of the production. His leading lady, Kim Cozort Kay, as Desiree, not only acts the role with elan, but manages to sing "Send in the Clowns" in the most unusual way. Firstly, she sings it with her beautiful alto. Secondly, her phrasing is unlike any version I have ever heard. Truth be told, "Clowns" is down there with "Sunrise, Sunset," "Feelings," "Wind Beneath My Wings," et al as songs I'd sooner pierce my eardrums with pencils than ever hear again. But Cozort Kay truly does the impossible. Brava! Speaking of bravas, an old, yet young, Sondheim veteran, Joy Franz, is our Madame Armfeldt and one could actually "see" the memories of "Liaisons." A beautiful woman, Franz makes it very easy to imagine her "profession" as she reminisces. While "Clowns" is a, or maybe "the" Sondheim classic, for my money I think "Every Day a Little Death" is superior in lyric, melody and pathos. Hands down, I believe that "A Weekend in the Country" has no equal. But I digress ...

The Liebeslieder singers are all up to the task of Sondheim's clever, yet tongue-twisting lyrics, with Angela Miller a standout not only for her lovely voice, but her true understanding of the "Smiles of a Summer Night" style when either delivering lines or just, well, standing there.

Director Lynette Barkley has some interesting castings. Count Carl-Magnus Malcolm, usually cast as a walking Arrow shirt ad, is played by Aloysius Gigl, who is more of a character man, not at all unattractive, but different from what we normally would expect. With a valid British accent (unlike several others in he cast) and a terrific voice, he is revelatory. Speaking of accents, why do so few attempt to do the Brit and the rest just speak in their own tongues? Only Ms. Barkley could have the answer. Also, while I am at it, why do several of the supporting leads appear so terribly contemporary while others manage to master an elegance and demeanor imperative to this particular piece?

Why does a lovely young woman, Lillie Ricciardi, playing Anne, with a gorgeous soprano and a true acting talent, have such a terribly unflattering hairstyle? While I know I am nitpicking, in a bare bones concert, the "small things" tend to stand out.

A Little Night Music is a masterpiece. That much is evident. Is the concert perfect? No. Is it a wonderful representation of a piece not done nearly enough, due to a dearth of capable voices? Absolutely. A lovely musical of another era, when lyrics and melodies meant something. The run has been extended until July 26th. See it!

A Little Night Music runs through July 26, 2015. Palm Beach Dramaworks. 201 Clematis St., West Palm Beach, FL. 561-514-4042. Tickets are $42.00. For more information, visit palmbeachdramaworks.org.


Photo: Geoffrey Churchill


See the current theatre season schedule for southern Florida.

-- Jeffrey Bruce