There is something obvious about a Sondheim score, even if you've never heard it before. At the very least, he is not concerned with borrowing from his previous work. I'd never seen or heard the score to this musical before and I could certainly recognize echos of "Into the Woods," "A Little Night Music," and even "Sunday in the Park with George". I find this in a way comforting. These melodies and the way in which dialogue is delivered in song are things I like about Sondheim. For this production the sets and lighting are spare yet elegant. The choreography uncomplicated and focused on conveying an orderly progression befitting a show that is essentially an exploration with human players of the forms and nature of love.
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Claybourne Elder as Giorgio and
Steffanie Leigh as Clara |
The show began with two people naked in bed making passionate love and singing about it--as one does. Lest you think such a start tawdry, it was quite the opposite: tasteful and appropriately sensual. The voices across the board were likewise beautiful, expressive, and dare I say it? Passionate! I honestly cannot find a single flaw in the entire production. Moreover, I feel like Natascia Diaz is a ringer for a Best Actress nomination at next year's Helen Hayes awards for her portrayal of Fosca. And it certainly wouldn't surprise me if Claybourne Elder didn't receive the same honor for his performance of Giorgio. All the stars I have for this one, and if you're able, do go. On stage through September 23rd.
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| Claybourne Elder and John Leslie Wolfe as Dr. Tambourri |
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| Steffanie Leigh and Claybourne Elder |
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| Natascia Diaz as Fosca and Claybourne Elder |
There is something obvious about a Sondheim score, even if you've never heard it before. At the very least, he is not concerned with borrowing from his previous work. I'd never seen or heard the score to this musical before and I could certainly recognize echos of "Into the Woods," "A Little Night Music," and even "Sunday in the Park with George". I find this in a way comforting. These melodies and the way in which dialogue is delivered in song are things I like about Sondheim. For this production the sets and lighting are spare yet elegant. The choreography uncomplicated and focused on conveying an orderly progression befitting a show that is essentially an exploration with human players of the forms and nature of love.
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