A Little Night Music: No Strings Attached — Page 3

Henrik is dressed as a cello in this production?

Isn't Henrik stepping out from behind the cello and then returning to it before the song is over not that much different from Dot stepping out of the dress in Sunday?

Huh?

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"Isn't Henrik stepping out from behind the cello and then returning to it before the song is over not that much different from Dot stepping out of the dress in Sunday?"

Did Gabriel Vick have the same staging in London? I know he did actually play the cello himself. But did he have the "step away" staging?

When the dress opens in Sunday and Dot steps out of it, it is symbolic that she is no longer communicating with George but with the audience: George continues to see her in the dress not in her underwear. She shares her inner thoughts and feelings with the audience and then returns to the dress to continue the interaction with George.

Similarly, Henrik steps out from behind the cello to communicate directly with the audience: to enable them to understand his predicament and where he is coming from. The Egerman household continue to see and/or hear him playing because he does not literally leave the cello just like Dot does not literally step out of her dress.

In all honesty Ijay, I cannot remember whether it was staged like this in London or not. If it was then that is how I would have interpreted what I was seeing. What I can remember is that Gabriel Vick communicated Henrik's psychological journey better than I've ever seen it done before.

Ofcourse, if I were to be pedantic, it would all depend at what point in the lyric Dot steps out of the dress and Henrik steps out from behind the cello!

Dot is "concentrating" while she's modeling for George. She is looking out at the water and picturing what it might be like to be someone else---a Follies girl. She is "removing herself" from the current pain and discomfort of holding perfectly still in the hot sun. Sort of an out-of-body experience, brought on by her discipline of concentration.

I haven't seen the Night Music revival, but I somehow doubt Henrik is portrayed as "trapped" inside his cello, trying to break free while he sings "Later."



EDIT: As I mentioned earlier, if he hugs and "plays" his cello during the song, almost like a subconscious substitute lover (especially when "Later" follows an amusing short scene with Petra where he lunges for her romantically and almost rips her blouse), the staging with the cello can be funny as well as touching ... and impressive! Not cartoonish. And not someone who's trapped in a cello.

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Updated On: 12/23/09 at 04:51 PM

"And, yes, from what I've listened to his portrayal in the Broadway revival does sound cartoonish, which is so different from how he was portrayed in the London production. This is surprising as so much else sounds similar."

Fascinating, Scripps2! I wonder why Trevor Nunn changed directions on Henrik.

He took the sardonic comedy out of Charlotte and added a 'toonish Henrik ... presumably for more obvious laughs at the character's expense?

Strange choices.

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Updated On: 12/23/09 at 09:25 PM

I recently saw NIGHT MUSIC for a second time and everyone has improved greatly since the first preview - well, everyone except Hunter that is. He actually got worse. "Later" was very difficult to watch and listen to. The man cannot act or sing at all, and I honestly don't understand why he was hired for this production.

I was mixed on Lazar and Davie at the first preview, but last night they were spot on...really enjoyed both of them.

Catherine was wonderful as well...and Leigh Ann nailed "The Miller's Son." Angela was perfection.

Can't wait to see this show again!!

Leigh Ann didn't deserve those pans. The audience ate her up. A bunch of tourists who I spoke to after the show said they LOVED Leigh Ann's performance (and they don't even know who the hell she is).

Hunter should have been let go from the production in previews. He's the male equivalent of Annaleigh Ashford when it comes to acting - horrendous.

...and I can think of many instances where I initially hated a performer and then ended up loving him/her...one example was Brandi Burkhardt in TALE OF TWO CITIES. So, no, I do not stick with it once I decide to hate a performer.

To paraphrase David Cote in Time Out NY: Why are we turning to the Brits to "save" Sondheim for us?

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I would say that British directors of American musicals have demonstrated time and time again a blatant disregard for the true essence of Sondheim's style and menaing.

But after this season's abysmal direction of musical revivals by Des McAnuff, Joe Mantello, Robert Longbottom and (O monstrous! Most monstrous!) Arthur Laurents, I would have to say pretty much the same thing about American directors.

Perhaps Bartlett Sher is the only one who should be allowed anywhere near a classic Broadway musical.

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