I thought astro turf on the patio was A Chorus Line and not A Little Night Music.
I still haven't got over the black brick dungeon that the Egermans lived in in the Paris production - they'll be able to re-use the set when they do Sweeney Todd next year.
This production looks just as abstract.
In fact I don't think I can remember seeing a production of A Little Night Music that was entirely satisfactory in terms of design.
The set is very unconventional, and yes, it's all because of Midsummer Night's Dream. But I need to say that the set of the Broadway revival has its own thinking behind (there's a reason why it's only three walls and a floor). My first reaction to Henrik's costume is also "WTF?" But my friend said it's makes him very boyish and seductive. Dunno whether I will agree to that.
It's a pretty set, but rolling a wheelchair through fake grass must blow. I also think Anne looks old, but so does Henrik so I guess it doesn't matter. Amy looks stunning.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
I kinda dig the lawn, because it's so unusual to see it on a stage. It does have a bit of a Magritte "surreal" quality to it when the furniture is place on it, but I like that as well. It keeps everything open and airy, and it feels like the characters could all run off into the forrest at any moment.
And that's a good thing. I hope they have a decent sound designer, too, with quiet crickets chirping all around the theatre.
"Jaws is the Citizen Kane of movies."
blocked: logan2, Diamonds3, Hamilton22
One review stated that the sound design was awful. Sorry to tell you.
A Little Night Music," while frequently enjoyable, is not quite there, primarily due to less-than-optimal casting in a crucial role and poor sound design.
The miking was an issue in more serious ways. Although it is, as general director Timothy O'Leary says, standard performance practice in Sondheim's music, it works best when it's so subtle that you can't really be sure whether it's there at all. Michael Ferguson's sound design was blatant and distracting. There were many balance problems, and occasional overtones when two mikes got too close together.
Sian Phillips did Madame Armfeldt to Dame Judi Dench's Desiree in ?1997 so Sian is making quite a career out of the part. I would love to see her take over from Stritch in November. Well, I can dream, can't I?
That's Joanna Riding who was probably closer to thirty when she did it. Riding gave one of the greatest musical performances I've ever seen as Julie Jordan in CAROUSEL at the NT for which she won the Oliver Award.
Joanna Riding was by far the best acted Anne I've ever seen or heard - her performance was quite literally a revelation. In fact the best things about the NT's ALNM were the female performances of Dench, Phillips, Hodge and Riding.
That footage is exactly as I remember the design: bare.
The stage looked like Mentmore Towers after the auction.
That could describe Desiree's dilemma but I don't think it can be extended to a metaphor for the whole show.
I love the Olivier theatre too and all that can achieved within it, say for example with The Wind in the Willows. But when I look at that footage I don't see the Egerman's house, Desiree's theatre or Madame Armfeldt's chateaux. I just see the Olivier's huge drum revolve.
I just got back from seeing this production at Opera Theatre St. Louis. Stunning! I enjoyed it more than the revival. I'm sure I'm a little biased because it was in my own back yard, but it was so magical. I really got a "the gods laughing at the folly of men" kinda vibe that wasn't in the revival at all. Of course, that's what Isaac Mizrahi was going for, but he really got his "Midsummer Night's Dream" interpretation across beautifully. OTSL ALNM Preview
The Overture is part of the show, people. Please shut your pie hole.
Houston Grand Opera has just announced they'll be doing this version from March 7-23, 2014. They're presenting it in the Cullen Theater (1,039 seats) instead of the Brown Theater (2,149 seats) at the The Wortham Theater Center. I'm glad to see it's going on the smaller stage because from the looks of these pictures, it would have been swallowed up in the Brown. But... the Cullen has such a tiny orchestra pit. They must not be doing this show with an orchestra larger than about 17 people.
Cast Desiree Armfeldt - Elizabeth Futral Fredrik Egerman - Chad Shelton Madame Armfeldt - Joyce Castle Count Carl-Magnus - Mark Diamond Petra - Alicia Gianni
Creative Team Conductor - Eric Melear - Mr. and Mrs. Albert B. Alkek Chair Original Production - Isaac Mizrahi Director - Matthew Ozawa Set and Costume Designer - Isaac Mizrahi Lighting Designer - Brian Nason