Light In The Piazza — Page 2

It doesn't seem like it would be all that difficult to remove that "borderline camp" moment, either by deleting it entirely, or (if it's important that we see why Margaret carries such guilt about it) replacing it with a recollection of early signs of a developmental disorder that she neglected to do anything about.

But it's just a fleeting moment in an otherwise perfect show (in my opinion, of course).

If you watch the 60’s movie or read the novella, the reveal of Clara is not camp at all. It’s not even a reveal, it’s just explained. It’s honestly sadder.

And it more reflects just the negligence and ignorance of parents in that time period that your child and your child’s brain is fragile.


It’s become a theatre joke because the show decided wrongly to build it as a reveal later on in the show that you’re waiting for as an audience member as well as hearing it come from someone with a thick southern accent.



Olivia DeHavilland in the film plays it very straight early on and it’s handled much better

Melissa25 said: "I saw the original at the Beaumont and the NYCC production. I floated out of the Huntington today feeling bathed in art. This is an extremely professional production that was so worth the trip. Emily Skinner (Margaret), Sarah-Anne Martinez (Clara) andWilliam Michals (Signor Naccarelli) are all in glorious voice but it was Joshua Grosso (Fabrizio) who stole my heart. He is truly giving an outstanding performance. I found that there was ample chemistry between Clara and Fabrizio that fueled my feelings for them.

The scenic design and especially the lighting was beautiful. Costumes and wigs were all exquisite. I loved the staging and direction. It felt like this could be on Broadway. Highly recommended."

Oh man, that sounds wonderful Melissa. I've been following Joshua Grosso's career since he won the Jimmy Awards and he is extraordinary. Perfect technique. I have never seen a professional production of this so I hope someday it can make it to New York again for a gorgeous, lush revival.

Ever since the Call Me By Your Name film came out I’ve been wanting Luca Guadagnino to adapt the musical for the screen.

The kicked by a Shetland pony reveal is so camp and I LOVE IT!

Updated On: 5/20/25 at 01:11 AM

binau said: "Georgeanddot2 said: "The kicked by a Shetland pony reveal is so camp and I LOVE IT!"

Is it meant to be camp though?"


No, that’s what makes it camp!

trentsketch said: "Of all the things to keep for fealty to the source material. An accident? Sure. That accident? Camp. Pure camp."

I really wish they'd changed the accident story, or eliminated that sequence entirely. A simple reference to ignoring early signs of an unspecified developmental disorder would have served the same function of showing why Margaret bears such guilt.

(ETA: I see that I've already made the same point on this thread before - my apologies for repeating myself!)

Updated On: 5/20/25 at 11:07 AM

BrodyFosse123 said: "Globefan said: "I wouldn't be opposed to a movie version."

"

Some of you have never spent time around horses. Injuries related to being kicked by a horse can absolutely result in major brain injuries. I think what some of you are interpreting as camp is an eggageration of Clara's "sweet, childlike docility" in the story as a result of the accident. But as someone who grew up around horses, the injuries a horse can cause are pretty far from camp.

QueenAlice said: "Some of you have never spent time around horses. Injuries related to being kicked by a horse can absolutely result in major brain injuries. I think what some of you are interpreting as camp is an eggageration of Clara's "sweet, childlike docility" in the story as a result of the accident. But as someone who grew up around horses, the injuries a horse can cause are pretty far from camp."

wee woo wee woo here comes the fun police

SteveSanders said: "The person offered a factual observation that does not merit the "fun police" comment.

"

Wee woo wee woo They've called in reinforcements!

kdogg36 said: "Well, this is the very crux of the show's conflict, for Margaret and, I suppose, for audiences. Is Clara an overgrown child who needs to be forever protected and never allowed to make decisions for herself? Or is she a capable free agent who can choose the life she wants to lead?

Throughout the first act, Margaret believes the former proposition, but the happenings in the second act convince her that Clara deserves to choose her own path. The title song does a lot of work in convincing Margaret to change her mind about this; she goes from a mother reluctantly indulging what she hopes is a passing infatuation to a mother willing to stand up for her daughter's right to marry the love of her life.

I've always taken it for granted that Clara is a fully competent adult, despite her limitations and eccentricities, and that Margaret's concerns are misplaced and shaped by her poor relationship with her own husband. So the possibility of "pedophilia," or, more precisely,lack of consent in her relations with Fabrizio, never really entered my mind."

I really like this interpretation. I think you are right. This is how I will view the musical now. I know the composer said he liked the project because he liked the ambiguous ending, it is not clear if it will be all happy since Clara is disabled, but she may indeed be a fully competent adult.