Judged in context, as a student (albeit of Scotland’s most prestigious performing arts institution) production, this take on Stephen Sondheim and Hugh Wheeler’s A Little Night Music is fantastic.
From the opening Quintet, creating a delightfully harmonious weave of the “Remember,” “Soon,” and “The Glamorous Life” themes, sliding naturally into a full cast spectacular “Night Waltz”, there’s no question that their vocal talents and training are equal to the score. The choreography is simple whilst making full use of the space, and a simple, forest-evoking set.
The musical, inspired by the 1955 Ingmar Bergman film Smiles of a Summer Night, follows the fates of three unusual families intertwined by old and new love, jealousy, pride, dreams and comings of age.
“From the opening Quintet, creating a delightfully harmonious weave of the “Remember,” “Soon,” and “The Glamorous Life” themes, sliding naturally into a full cast spectacular “Night Waltz”, there’s no question that their vocal talents and training are equal to the score.”
The longevity and enduring popularity of the musical places criticism of it in the moot pile. In light of the minimal changes made in this production, we shan’t bother. The vocal talents being more than equal to the score, the only question which remains is: how’s the acting?
The answer is, pretty darn good. Shane Ferris makes a believably world-worn and insecure Frederik Egerman, whilst Emi Kitagawa is quite delightful as his teen bride coming to terms with a hasty decision. However, whilst David Joseph Healy gives us a psychotically pompous Count Carl-Magnus Malcolm, and Jen Cassidy makes an intensely cooky Countess Charlotte Malcolm, it’s Anna Toogood who takes the prize for most promising newcomer. Her charismatic tour-de-force as middle-aged stage star Desirée Armfeldt, is full of heart and conflicting emotions.
Throughout, the musical’s abundant comedy works at every turn, whilst the transitions into song remain natural. Maybe there’s more camaraderie than chemistry between the various lovers in the play, but it’s enough to keep the drama interesting. Of course, it’s tricky for such theatrical elvers to embody middle and old ages, but they give it an admirable bash.
That said, matters slide a little heavily into caricature here and there, not least in handling Henrik Egerman’s (Marty Pascall) burgeoning horniness. Yet, when it’s time for “Send in the Clowns”, Toogood nails the heartache-laden vocals, whilst she and Ferris sell their simple, needlessly complex romance with admirable understatement.
So bravo Director Tom Cooper, Musical Directors Hudson Crowe and Noah Pott, and Sound Designer Corey Jackson, this show is slickly put together, entertaining, and – critically – sounds good at all times.
Indeed, kudos to all involved, both cast and crew. No doubt theQR will be writing about some of these talented individuals in the future.
Featured Image: Anna Toogood & Shane Ferris – credit: Hope Holmes
Show Details
Venue: Assembly Rooms – Music Hall
Dates: Aug 2, 4-5, 8, 10-11, 14, 16-17, 20, 22-23, 25
Showtimes: 10:00
Running Time: 2 hours 20 minutes
Age Recommendation: 12+
Price: From £15.5 (concessions available)
Accessibility
The performance space, ‘Music Hall’, is wheelchair accessible.
The venue, ‘Assembly Rooms’, has provided the following accessibility information: ‘Limited access to some parts of venue site, Wheelchair accessible toilet, No reserved accessible parking, On street blue badge parking, Assistance dogs welcome in all areas. Accessible entrance is through the front doors.’.
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