The Light in the Piazza review (June 1, evening) - Does the show really match the beautiful score?

[Thenardier]

Posted: 6/2/05 at 2:34pm

The Light in the Piazza
Review
June 1, 2005 – 8:00 pm

‘The Light in the Piazza’ shines like a gem in the theatre world. From the opening notes of the beautiful score to the final blackout, ‘Piazza’ proves to be one of the best shows on Broadway.

The show, about a young girl with a secret finding true romance in a foreign country, not only is a beautiful work of theatre, but also has a cast that breathes energy and life into each character. Victoria Clark is simply amazing as she switches effortlessly between dramatic moments and comedic moments. As the mother of Clara (Kelli O’Hara), Clark encompasses the protective mother role – but with an extra special dimension too perfect to describe in words.

From the moment she walks on stage, Kelli O’Hara has the charm and sweet innocence needed for the role of Clara. Her emotion is clearly presented in every aspect of her performance, from singing to the twinkle in her eye. She is Clara.

Matthew Morrison also gives a touching performance as Fabrizio, Clara’s young Italian lover. His voice, along with O’Hara’s and Clark’s, match beautifully with the astounding score. Morrison switches between full Italian and broken English almost effortlessly. He captures Fabrizio’s young innocence perfectly and is a great match for the beautiful O’Hara.

There is not one weak cast member in the show. While outshined by Clark and O’Hara, Sara Uriarte Berry and Michael Berresse each give a great performance as husband and wife. Mark Harelik, as Fabrizio’s father gives a great, heart-felt performance that resonates profound emotion.

The sets (Michael Yeargan), the lighting (Christopher Akerlind) and costumes (Catherine Zuber) are beautiful in their own, simple way. They ultimately set the young-love feeling and help to bring out the emotion in the breathtakingly beautiful score by Adam Guettel.

The weakest part of the show is the book, written (and re-written) by Craig Lucas. There are two many moments when the book seems to stop and let the actors’ emotions run the show. Occasionally, the show takes a brief halt as it the actors seem to try to revive the plot line. Barlett Sher’s direction, however, helps the book tremendously in being a beautiful story of love, desire, and secrets.

Go see Piazza now! It is one of the best shows currently on Broadway today.

****************************************************************

Tony Stuff:

In my opinion, Clark deserves the Best Actress Tony for her amazingly real portrayal of Margaret Johnson. No ifs, ands, or buts.

This year, the hardest decision seems to be the Best Featured Acress category. I believe it should come down to Sara Ramirez (Spamalot) and Kelli O’Hara. I can’t imagine any performance in Spelling Bee could be better than the performances in Piazza. On one hand, Ramirez steals the show from Azara, Pierce, and Curry. She is one of the best parts of the show and truly makes her part (which is obviously unneeded) worthwhile. O’Hara, however, has the beauty and innocence to capture the spirit of Clara and of Piazza in general. Her chemistry with the other performers is great – and sometimes working with the cast is better than standing out.

Matthew Morrison’s performance is ten-fold better than the featured actors’ performances in Spamalot. Not only is his acting and singing spot on but he completely overcame the language barrier (in reverse, rather). While I have not yet seen Spelling Bee, I cannot imagine Dan Folger to have given a better performance.

Orchestrations, lighting, sets, and possibly costumes, belong to Piazza, even though I am a David Rockwell fan.

Best Musical – In a fair world, the race would be between Dirty Rotten Scoundrels and Piazza.

****************************************************************

Side note: Met Megan Hilty – she is beautiful and her personality seems to be Glinda’s. I would love to see her.

Also, I don't know why, but I can't believe Kelli sung Light in the Piazza (the song) beautifully three times yesterday...WOW.

Great job, Kelli and all the other stars, at Stars in the Alley!

I also won DRS lotto matinee yesterday. Show is still great and the music is still fun.

[Thenardier]

Posted: 6/2/05 at 2:36pm

I want to add, not in my review though, that another bad thing about the show is there is not enough music. I love the music, and wish there was more!

[Avigdor]

Posted: 6/2/05 at 2:51pm

i dont find anything wrong with the book..this music and book allow the actors to flourish within their characters and their emotions become song and are driven equally through the goals/intentions they each have. i dont see any reason to change the book..i think they compliment and invigorate eachother.

[Thenardier]

Posted: 6/2/05 at 2:54pm

I don't think the book needs to be changed. I just think it wasn't as good as the orchestrations.

[Ourtime992]

Posted: 6/2/05 at 3:13pm

I fear that Guettel's entire career will be marked by this question. He's really quite brilliant, and I continue to fall in love with his work only to realize that our generation has yet to find a librettist to equal him. Perhaps it's not possible, given how talented he is. Or perhaps it's that he's drawn to projects with difficult books. When I read the Piazza novella a few years ago my first thought was "how in the world are they going to draw that out into a full evening?" When I finally saw the tape of Floyd Collins I was forced to admit that it works as well (or better) on CD than it does on stage, because the idea of a show about a man stuck underground is much better than an actual show about it.

For what it's worth, I found Piazza entrancing and magical, but I don't know what could have been done bookwise given the source material.

[wickedrentq]

Posted: 6/2/05 at 3:39pm

I, I, I. No mention of your companion for the day who was the one who really wanted to see Piazza(my second time) at night even though you were thinking of other alternatives...

I really liked the show the first time, but I liked it even more this time. It's really a great show to experience more than once, there's just so much in it to pay attention to. The first time I saw it, I was basically caught between two things--following the basic plot and paying attention to everything having not to do with the plot-the sound of the beautiful score and music, the AMAZING orchestra that in a very non-noticeable way is sooo important to the show. This time I paid more attention to lyrics and the more detailed aspects of what was going on. I also sat in Row G in seat 101 on the aise, last time I was all the way on the left on the top row of the orch, so I was able to see all the sets this time, beautiful as well. The lyrics are as beautiful as the music. The performances given by all are fantastic. I still slightly think DRS deserves best musical, but in my book this would be a very close second.

At the stage door...well I kinda know Matt, not in a friendly we go to lunch way but in at the stage door he gives me a hug and we talk for a bit. He too is such a sweetie(okay so many broadway people are nice, sorry I keep using the word but it's true). Also, this time I was able to get autographs and talk to the rest of the actors. I told Mark Harelik that it was my second time seeing it and that I had seen it a couple days after it officially opened and he asked me if I noticed changes and was very curious, you could see they love what they're doing. And I mentioned how much I love the orchestra, and we both raved about them. Gah.

I told Victoria I had seen every show and that without a question she should get the Tony. She was very impressed that I had seen all the shows and thanked me but when I said it, she responded that she doesn't really know about that, but that she's just happy to be nominated. Aww, I assured her she definitely deserves it.

Kelli was also really nice and also impressed that I had seen all the shows.

Tonys-I've been saying all along Victoria completely deserves it, still feel that way.

After seeing it again, I definitely feel that Matt deserves featured actor. I don't know, I wasn't that impressed with Dan Fogler, and just when you compare what he had to do for this part-learn Italian, speak with broken English, and the dramatics he has to put in is unmatched by any of the other nominees. I certainly hope this is an unexpected win for him.

I also agree with BSo about Kelli and Sara, I loved both, and the parts are so different, I really can't choose. I think I'll just hope for a tie, prob won't happen. I could also see Maxwell sneaking away with it, and while she had a wonderful scene-stealing part, I think Kelli and Sara deserve it a bit more.

Megan seemed to be such a sweetie and in appropriate Glinda fashion signed playbills with a pink pen. I too am excited to see her in the role.

And DRS was again so enjoyable, for the fourth time in the exact same seats all the way on the right I had the last time my friend won lotto. This time I can see how worked and sweaty everyone was, particularly Norbert. I can't believe that them or anyone for that matter puts so much effort into 8 performances a week, it's just amazing to me. I was talking to Gregory Jbara after(such a doll!) and when I mentioned Norbert, he said I can't believe he does the things he does on that stage without yet blowing a gut.

Great, long day.

Updated On: 6/3/05 at 03:39 PM

[Thenardier]

Posted: 6/2/05 at 3:41pm

No, I think he said, "I can't believe he does these things on stage and still has a gut"

But maybe you are right.....

[wickedrentq]

Posted: 6/2/05 at 4:26pm

Hmm...actually I think you're right...but there's not a big difference, basically the same message.

[munkustrap178]

Posted: 6/2/05 at 4:47pm

Well to answer the question in your headline, no, the show doesn't match the score.

Aesthetically, yes. The sets, lighting, and costumes are amazing - as is the gorgeous score. But the show as a whole isn't very interesting, and almost every review agrees with me on this one. It's one of the most ambitious musicals of recent memory - and quite a few things about this show work - but an awful lot doesn't work.

[Thenardier]

Posted: 6/2/05 at 4:57pm

I still enjoyed it thoroughly - I love the score and the performances were just perfect.

[munkustrap178]

Posted: 6/2/05 at 5:05pm

I enjoyed the first act, I hated the second. I love the score as well. The performances perfect? I don't agree. I thought Keli O'Hara was disposable. While Morrison was quite irresistable and his acting was good, his voice did not service the score. I really just think the show is a mess - what's the point of telling this story? I never understood why the story was being told and why we should care about the characters.

[melissa errico fan]

Posted: 6/2/05 at 5:08pm

Perfect review, BSO. I agree with it completely.

[HeyMrMusic]

Posted: 6/2/05 at 5:52pm

Ah, am I the only one who really liked Celia Keenan-Bolger in Spelling Bee? And while I loved Kelli O'Hara in Piazza, I don't know, there was something missing from her performance, a slight certain something. Wow, I'm not good with my words today. Celia, however, broke my heart. I wish there were more buzz around her. I wouldn't mind if either of them were to take the Tony.

I have the same opinion of Matt Morrison. He was great, but there was something slightly off. Maybe it was his singing. He's working really hard at that music, it's really tough. And it's noticable. Dan Fogler, however, just embodies Barfee, he's wonderful.

Ack, I don't like to make these comparisons, though. I absolutely adored both Piazza and Spelling Bee. And if it were up to me, Piazza would win Best Musical. But it's not. Eh, whatever.

Nice review, though. I'm really glad you enjoyed, Thenardier.

*Seeing Piazza again next Wednesday!* =)

~Steven

[Thenardier]

Posted: 6/2/05 at 7:19pm

Thanks all.

Hmmm....I dunno. I thought Kelli and Matt did a beautiful job in the show.

Posted: 6/2/05 at 8:03pm

"I never understood why the story was being told and why we should care about the characters."

Because it touches on: letting go of parental control, the parameters of love, the ability of a designated 'diminished person' to function in the real world, guilt, shame, regret and ultimately, hope.

All of these are themes that I think were apparent to an empathetic and aware audience.

[Thenardier]

Posted: 6/2/05 at 8:28pm

I agree DGrant - it was almost very simple to understand - yet the meaning is very profound...

[gwalke4]

Posted: 6/2/05 at 9:24pm

I have not yet seen the show (stuck in Louisiana of all places), but my acting prof saw it when she was just in NYC (upon my suggestion) and she thought it was brilliant. She said "for the life of me I don't understand why it was received so poorly" and I said "well, more sort of mixed reviews," and she still didn't understand why.

Touching on the "why?" and themes...
Very interesting and revealing interview with Mr. Guettel in American Theatre magazine last year when Piazza was at the Goodman in Chicago, where he said (and I'm paraphrasing) that he mostly identified with the idea that we can never be loved in the way that we would imagine it. I am not being very clear...he also said something like he identified with Clara b/c there are certain things in his life that have sort of insulated him from a "normal" experience (I would assume his millions from his grandfather, and he's also been on record as having drug and alcohol addiction)

At any rate, I thought that was a really interesting connection, that the piece sort of fulfills our longings for the fairy-tale romance then dealing with the practical, real-world consequences.

This was such a roundabout post, I'm sorry...

Here is the address for the article: http://www.tcg.org/am_theatre/at_articles/AT_Volume_21/January04/at_web0104_guettel.html

Renegade Shakespeare Company Updated On: 6/2/05 at 09:24 PM

[Thenardier]

Posted: 6/2/05 at 9:29pm

gwalke, thanks for the article.

The performances truly are amazing. The critics are pretty off many times.

Posted: 6/2/05 at 10:17pm

gwalk - thank you very much for that article!

[Ourtime992]

Posted: 6/3/05 at 12:57am

I don't know how I missed that article, but my respect for Adam Guettel just continues to increase. He is very articulate, isn't he?

[leomaxfrank]

Posted: 6/3/05 at 2:52am

Dgrant - well put. The same argument about why certain stories need to be told totally baffles me at times. Many people felt that way about Caroline, or Change also - and I couldn't disagree more. There is so much to tell, and so much to care about.

[Pinguin]

Posted: 6/3/05 at 3:00am

It's so hard because I think that many parts of the book are GREAT and then some are SO NOT. But I kind of feel that way about the score too...there are a couple songs that I really think don't work.

And yet, I love it anyway. The production elements are STELLAR and the performances and direction are superb. So I'm a happy camper.

For the record, I like Celia too. But I think Kelli just was blessed with a better role, and in turn a better performance.

And if DRS wins best musical, I will be unhappy. I think it's the weakest of the 4. But I know on these boards I'm the only one who thinks that :0)

[Thenardier]

Posted: 6/3/05 at 3:41pm

Yes, I have not seen Bee, but of the other three, Spamalot is the weakest IMHO.

[wickedrentq]

Posted: 6/3/05 at 4:23pm

Right now I'd say my ranking order of best would be:

DRS
LITP
Bee
Spamalot

Enjoyed them all, but only based on quality. And this is like almost the exact opposite of which are favored to win best musical tony. Oh well.

[ljay889]

Posted: 6/3/05 at 4:27pm

I'm a little confused why some think Piazza does not have any memorable melodies and such. I find myself waking up with Piazza songs stuck in my head, and throughout the day I will have some Piazza stuck in my head. They are definetly memorable, and catchy songs.