In Praise of Women

A Little Night Music

As Summer in Chicagoland begins to heat up, what could be more delightful than A Weekend in the Country? This is also the title of the grand, magnificent musical number, performed by the entire cast, that brings Act I to a rousing, comic closure. The fast-paced, syncopated melody, with humorous patter-song lyrics, offers a promise of the plot complications to come in Act II. The song’s soaring, intertwining operetta style counterpoint is an absolute delight. It’s one of my favorite songs from one of the most treasured of all Broadway musicals.

Following the success of Stephen Sondheim’s concept musicals, COMPANY and FOLLIES, he went to work on his ninth show. Together with his book writer, Hugh Wheeler, Sondheim thought it would be a challenge to adapt Ingmar Bergman’s romantic film, “Smiles of Summer Night” into a musical comedy. Unlike his previous works, A LITTLE NIGHT MUSIC returned to his more traditional plot-driven shows. Sondheim wrote both the clever lyrics and the music, which is primarily in 3/4, or waltz time. This sophisticated, enchanting and slightly risque musical confirmed Stephen Sondheim as America’s premiere composer of the American stage. And Marriott’s production is most definitely, as one character sings, “In Praise of Women.” 

In 1973 the show garnered the Tony, Drama Desk and Theatre World Awards for Best Musical. The original cast album even took home a Grammy for Best Musical Show Album. The musical then went on to become a popular film, a National Tour, and launched several productions with opera companies, as well as musicals in Europe and Australia. Then a brilliant Broadway revival opened in 2009 and a wonderful Lincoln Center concert version played two years ago.  

While most productions of Sondheim’s beautifully bewitching musical are quite formal and visually sumptuous, talented director Nick Bowling creates his own Smiles of a Summer Night in a more intimate, in-the-round presentation. With the theatergoer seated never more than a few yards from the stage, this story of love and liaisons plays out in close proximity to the audience. Despite the stiff formality inherent to a story set at the turn of the century, Mr. Bowling has given a decidedly more contemporary feel to his production. The result is A LITTLE NIGHT MUSIC that speaks more clearly to today’s audiences. 

Musical director Ryan T. Nelson once again meets the challenge of guiding his cast through this difficult score. Working his magic on keyboard, conductor Brad Haak has surrounded himself with eight gifted musicians on violin, viola, cello, flute, clarinet, oboe English horn, bassoon and acoustic bass, keeping Sondheim’s lush score at the forefront. And the cast beautifully waltzes through this production, thanks to Katie Johannigman’s lovely choreography.

Marriott’s production is definitely dominated by the ladies, making Sondheim’s solo for Count Carl-Magnus, “In Praise of Women,” especially meaningful. This feminist vision of Sondheim’s musical seems like a no-brainer. It’s obvious that he was creating a female-centric Edwardian story of love and folly with this piece. The brilliant actress/singers in Marriott’s cast often outshine their male counterparts, beginning with the talented Greek choral Quintet, often called the Liebeslieder Singers. These three women and two men open each act, taking on multiple incidental roles and comment through song on the ridiculous behavior of the idle rich characters. 

Led by the wonderfully talented Victoria Okafor, Kelli Harrington and, especially, the bewitching Colette Todd, the Quintet, which also includes talented Michael Earvin and Joel Gelman, weave a haunting and sometimes humorous spell. They charm with “The Overture/Night Waltz,” “Remember,” “The Glamorous Life,” “The Sun Won’t Set,” “Perpetual Anticipation” and the “Finale/Last Waltz.” It should be noted that Ms. Harrington and Ms. Todd have both beautifully played the leading role of Desiree Armsfeldt in other Chicago productions.

Alexandra Silber (THE MUSIC MAN, Marriott; DIAL M FOR MURDER, Drury Lane) is a beautiful, musically gifted and dramatically captivating actress who portrays leading lady, Desiree Armfeldt. Her often humorous and realistic portrayal of this flamboyant theatrical artist is the essence of this production. Ms. Silber’s  rendition of the show’s best-known ballad, “Send in the Clowns,” is quite simply the most heartbreaking version I’ve ever heard. 

As a professional actress, who’s been touring through small towns while playing the classics, Desiree’s also learned how to play the many men who’ve wandered into her life. At the moment, the two gents, whose affections Desiree is currently toying with, are her former lover, lawyer Fredrik Egerman, who is nicely played with panache by Andrew Samonsky (THE MYSTERY OF EDWIN DROOD; SOUTH PACIFIC, Broadway). Her other current dalliance, Count Carl-Magnus, is portrayed with relish and rancor by Alan H. Green (CHARLIE AND THE CHOCOLATE FACTORY; SCHOOL OF ROCK, Broadway). Both of her paramours are married, which provides its own set of problems and complications. 

Desiree also has a worldly wise daughter named Fredrika, who’s under the care of her grandmother. The little girl understands far more about life than her young years might indicate. She’s played with great voice and subtle humor by Olivia Grace O’Sullivan (THE SOUND OF MUSIC, Marriott; LES MISERABLES, National Tour). Both mother and daughter have been mentored in the affairs of the heart by Desiree’s very liberal-minded mother, Madame Armfeldt. This grande dame is portrayed with command, cool dignity and dry humor by the wonderful Carmen Roman (SCIENTIFIC METHOD, Rivendell; NATIVE SON, Court Theatre).

Three other women hold this production in the palm of their kid-gloved hands. The first is Addie Morales, a delightfully gifted actress and singer, returning to the Marriott stage (THE SOUND OF MUSIC, IN THE HEIGHTS) after appearing Off-Broadway in MASQUERADE. She’s lovely, youthful and radiant as Fredrik’s young, virginal wife, Anne. Ms. Morales perfectly captures the giddy innocence and carefree frivolity of this character, while the actress’ lovely voice carries many of the musical numbers. She’s joined by talented Jeff recipient, Veronica Garza (CHARLIE AND THE CHOCOLATE FACTORY, Marriott; WHO’S HOLIDAY, Theater Wit), in yet another comedic role. As Charlotte, Count Carl-Magnus’ put-upon wife, Ms. Garza makes this part all her own. The Countess knows that her husband is easily angered and is involved in many extramarital affairs. However, she also loves her husband enough to put up with his awful behavior. Charlotte becomes Anne’s confidante and friend; her duet with Ms. Morales, “Every Day a Little Death,” shows off her lovely voice.

The third actress who has a strong presence in this production is Madison Uphoff (FIDDLER ON THE ROOF, Music Theater Works), currently making her Marriott debut. In the role of Anne’s worldly young maid, Petra, she often dallies with the affections of Fredrik’s pious, teenage son, Henrik. He’s played with passion by actor/musician, Eldon Warner-Soriano (GODSPELL, Music Theater Works; SWEET CHARITY, Blank Theatre Company). Petra also finds pleasure with Frid, Madame Armfeldt’s handsome, young servant, after which she sings a sultry and stirring version of “I Will Marry the Miller’s Son.” Also making his Marriott debut, Frid is nicely played by Jake DiMaggio Lopez (CATS, DEAR EVAN HANSON, Paramount).

Nick Bowling’s sumptuous production is so many things. It features some of the most beautiful costumes ever seen at this theatre, designed by the always reliable Sally Dolembo. And they are enhanced with an exquisitely coiffed hair, wig and makeup design by Miguel A. Armstrong. The show is a sweet-sounding songful celebration of gorgeous, lilting melodies and witty and wise wordplay, masterfully composed by Stephen Sondheim. Professionally sung and skillfully accompanied, audiences are guaranteed an enjoyable evening at the Marriott. But moreover, directed with a feminist’s eye, this production truly belongs to the production’s talented ladies. With a strong showing by each and every actress, there are no weak performances. This is A LITTLE NIGHT MUSIC that is most certainly “In Praise of Women.”

Highly Recommended

Reviewed by Colin Douglas

Presented June 17-August 9 by the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL.

Tickets are available in person at the box office, by calling the Marriott at 847-634-0200 or by going to www.MarriottTheatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos are by Justin Barbin