#1
Posted: 3/26/05 at 11:23pm
THE LIGHT IN THE PIAZZA Review
“The Light in the Piazza” is a brand new musical with old fashioned qualities, a cast of some uber talented folk, an award winning book writer adapting a celebrated novel, and a composer and lyricist making his Broadway debut. Sounds like the perfect recipe for success, right? Not so fast! What could be and should be the most moving and artsy production of the season, turns out to be a half-baked yet thought provoking; sensual yet melodramatic mush; and an engulfing yet surprisingly downright boring and bland evening at the Vivian Beaumont theatre.
For every upside, “Piazza” has an equal if not greater downward turn. If that were the case with just one element of the production then all would be forgiven and this uniquely sophisticated, yet typical Lincoln Center Production would be in a league of the greats. But it is indeed a half hearted attempt to bring a story, so steeped in melodrama to the musical theatre stage, one begins to wonder if this is really where this “Light” belongs. More aptly suited for daytime television in the form of an after school special, the story tugs on heart strings and sets audience members up for an ending with tearful consequences. Instead of taking the heartbreaking route, the creative team halts the heightened emotion at the plays end to give the shows leading lady an all encompassing nearly operatic finale. The payoff, while sung with great vigor by Victoria Clark’s character Margaret, seems nothing more than a sorry attempt to wrap up what already feels like an eternity, in reality cheats the audience out of the stories most tender of moments.
But does anyone really care by that point? After sitting through two hours that seem more like two days of the most ballad heavy and uninspiring melodic show to hit Broadway since “Caroline or Change,” one would be ready to damn this musical to the depths of flops. But just hang on one second…the lyrics are actually thought provoking, and the story may have a deeper meaning than all the surface level gloss. The inner level is where the combination of Adam Guettel music and Craig Lucas’ book really begin to mesh and venture into greatness.
Unfortunately, today’s Broadway going audience is not interested in such vested material and tourists would rather spend an evening with a jukebox and get their art fill from MOMA! The talented cast of Broadway vets only give ordinary, middle of the road performances. On one hand Kelli O’Hara has the acting chops to pull off the emotionally disturbed Clara, but the singing voice of a tintype cabaret performer. Victoria Clark while being in a league of her own in this particular production has a vocal presence of an angel during her songs, but while speaking sounds like a mix of Donna Murphy’s Ruth Sherwood from “Wonderful Town” and mental patient – WHAT WAS THAT Victoria? Also, a slap between the two characters at the top of Act II was done so poorly that snide laughter rose from the audience at the ludicrousness of it. Clark’s physicality in general needs honed and tweaked. The standout here is far and wide Matthew Morrison as Clara’s Italian suitor Fabrizio. A solid tenor who hits all the high notes demanded and layers his character with fortitude and enduring passion from beginning to end.
Set and lighting designers Michael Yeargan and Christopher Akerlind find a nice accord and balance filling the peculiar Beaumont although a bit bloated and brash at times; Director Bartlett Sher also does a commendable if less than memorable job adjusting his actors on stage. Chatherine Zuber who designed this seasons “Doubt” costumes to precise perfection, seems to have fallen into trap after trap here. The first being trying to help Kelli O’Hara dub this her season of sexy lingerie. The second being the matronly red frocks poor Victoria Clark is placed in. The third being the borrowed nuns costumes from her version of “The Sound of Music” a few seasons earlier.
If only the sound in the Piazza were as sweet as “The Sound of Music,” maybe the Light would have shone much brighter. In a season where jukebox musicals have jumped to the forefront, it is a nice change of pace to have a true, honest, heartfelt musical again. In order for this type of show to succeed however, “Little Women” (a show with the same feel) need not already be playing and winning more raves for its stars; an open ended run to attract more out of town visitors instead of a limited one is desperately needed; and a bunch of Tony nominations couldn’t hurt the box office either. Unfortunately the first two will not happen, and the third is anyone’s guess, but with eleven new musicals and two revivals; popularity will trump art (what tedious ballad to perform at the three hour long telecast would be the first headache) and in this case, that’s okay!
“The Light in the Piazza” is a brand new musical with old fashioned qualities, a cast of some uber talented folk, an award winning book writer adapting a celebrated novel, and a composer and lyricist making his Broadway debut. Sounds like the perfect recipe for success, right? Not so fast! What could be and should be the most moving and artsy production of the season, turns out to be a half-baked yet thought provoking; sensual yet melodramatic mush; and an engulfing yet surprisingly downright boring and bland evening at the Vivian Beaumont theatre.
For every upside, “Piazza” has an equal if not greater downward turn. If that were the case with just one element of the production then all would be forgiven and this uniquely sophisticated, yet typical Lincoln Center Production would be in a league of the greats. But it is indeed a half hearted attempt to bring a story, so steeped in melodrama to the musical theatre stage, one begins to wonder if this is really where this “Light” belongs. More aptly suited for daytime television in the form of an after school special, the story tugs on heart strings and sets audience members up for an ending with tearful consequences. Instead of taking the heartbreaking route, the creative team halts the heightened emotion at the plays end to give the shows leading lady an all encompassing nearly operatic finale. The payoff, while sung with great vigor by Victoria Clark’s character Margaret, seems nothing more than a sorry attempt to wrap up what already feels like an eternity, in reality cheats the audience out of the stories most tender of moments.
But does anyone really care by that point? After sitting through two hours that seem more like two days of the most ballad heavy and uninspiring melodic show to hit Broadway since “Caroline or Change,” one would be ready to damn this musical to the depths of flops. But just hang on one second…the lyrics are actually thought provoking, and the story may have a deeper meaning than all the surface level gloss. The inner level is where the combination of Adam Guettel music and Craig Lucas’ book really begin to mesh and venture into greatness.
Unfortunately, today’s Broadway going audience is not interested in such vested material and tourists would rather spend an evening with a jukebox and get their art fill from MOMA! The talented cast of Broadway vets only give ordinary, middle of the road performances. On one hand Kelli O’Hara has the acting chops to pull off the emotionally disturbed Clara, but the singing voice of a tintype cabaret performer. Victoria Clark while being in a league of her own in this particular production has a vocal presence of an angel during her songs, but while speaking sounds like a mix of Donna Murphy’s Ruth Sherwood from “Wonderful Town” and mental patient – WHAT WAS THAT Victoria? Also, a slap between the two characters at the top of Act II was done so poorly that snide laughter rose from the audience at the ludicrousness of it. Clark’s physicality in general needs honed and tweaked. The standout here is far and wide Matthew Morrison as Clara’s Italian suitor Fabrizio. A solid tenor who hits all the high notes demanded and layers his character with fortitude and enduring passion from beginning to end.
Set and lighting designers Michael Yeargan and Christopher Akerlind find a nice accord and balance filling the peculiar Beaumont although a bit bloated and brash at times; Director Bartlett Sher also does a commendable if less than memorable job adjusting his actors on stage. Chatherine Zuber who designed this seasons “Doubt” costumes to precise perfection, seems to have fallen into trap after trap here. The first being trying to help Kelli O’Hara dub this her season of sexy lingerie. The second being the matronly red frocks poor Victoria Clark is placed in. The third being the borrowed nuns costumes from her version of “The Sound of Music” a few seasons earlier.
If only the sound in the Piazza were as sweet as “The Sound of Music,” maybe the Light would have shone much brighter. In a season where jukebox musicals have jumped to the forefront, it is a nice change of pace to have a true, honest, heartfelt musical again. In order for this type of show to succeed however, “Little Women” (a show with the same feel) need not already be playing and winning more raves for its stars; an open ended run to attract more out of town visitors instead of a limited one is desperately needed; and a bunch of Tony nominations couldn’t hurt the box office either. Unfortunately the first two will not happen, and the third is anyone’s guess, but with eleven new musicals and two revivals; popularity will trump art (what tedious ballad to perform at the three hour long telecast would be the first headache) and in this case, that’s okay!
Updated On: 3/27/05 at 11:23 PM
