What Do You Think Of The 1990 Lincoln Center Production of A Little Night Music?

Some people don't like the sets of the new revival. But I think the sets of the 1990 production are hideous. The costumes too. Sally Ann Howes is just not very sexy. I don't see why two men would duel over her. That's what you lose with most 60 year-old Desirees.

I've only seen the recording, I didn't see it live. So maybe the sets and costumes came across better live.

Updated On: 12/17/09 at 06:39 PM

*Cough* The whole thing is on youtube under the username TheSondheimFan *Cough* It really is only 16 parts long, so don't be alarmed when there's no part seventeen.

I absolutely LOVE their Henrik, Charlotte, and Anne... Susan Terry's Petra also does the most thrilling "Miller's Son" I've ever heard. And I was impressed by George Lee Andrews' acting-- everything he did felt so real that I forgot he was acting sometimes... it's a pity he's perpetually in Phantom of the Opera. I kind of feel like that's a waste.

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You can get a DVD copy of the tape from www.premiereopera.com. I second any raves for Maureen Moore.

Does anyone here know what the curtain has projected on it in the beginning? An announcer starts to read it, but gets cut off when the orchestra starts. My copy is several generations removed, so I have no hope of making it out.

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Yeah, Danielle Ferland's Fredrika reminded me of the Little Boy from Ragtime, which was really weird. The way she pronounced words kinda bugged me... but she did stay in character really well.

I think it's funny that Michael Maguire and Aaron Lazar both played Carl Magnus... both of the original Enjolri in the Broadway productions of Les Mis.

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I love the 1990 revival. A solid production with a terrific cast. I wasn't too keen on the acting from (opera singers) Anne and Henrik, but they won me over, ultimately. And their singing is first-rate.

I particularly loved Regina Reznik. I think she is the closest I've seen to someone who could have actually BEEN Madame Armfeldt. Elegant enough, clearly a beauty "back in the day," with enough discretionary naughtiness to convince me that she was a calculating courtesan. And her "smokey baritone," as she refers to it herself in an interview, is magic on Liaisons. Such a brilliant interpretation of the song. Plus, her scenes with Daneille Ferland were truthful and understated, only adding to their impact. The "wooden ring" dialogue with the two of them is my favorite of all.

I also loved the chemistry between Sally Ann Howes and George Lee Andrews. They were charming together, and the ending was very romantic.

And the NYC Opera quintet with the full orchestra? Pure magic.

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Updated On: 12/18/09 at 11:10 AM

I saw this production live twice, and loved it. Maureen Moore was absolutely perfect, but George Lee Andrews stole the whole show for me. He seemed to fit the character like a glove, and his singing of some very tricky music seemed effortless. He played Frid in the original Broadway production and, I believe understudied Cariou. Anyone see him then?

PJ, I've been meaning to ask you this. We know that Trevor Nunn was going to cast Natasha and Vanessa in the revival of his production before Natasha's unfortunate death. Would you still have skipped it, even with Natasha? I am sure Natasha would have been absolutely fantastic, but I doubt Vanessa's reviews would have been anything near Lansbury's.

After the performance Natasha gave in the benefit, I would have gone anywhere to see her play Desiree again.

You might remember, but I said that, shockingly, Vanessa was terrible as Mme. Armfeldt. First of all, she didn't understand the convention of the staged reading: how much to read, how much to act for the audience, etc. That could be excused. But second, she didn't seem to "get" the character at all, the humor or the imperiousness. But I would have gone to see them and probably have been annoyed by Trevor Nunn's choices.

But if I'm not going to like the production, I'm not going to like the Desiree, I'm not going to like the supporting cast and I'm going to feel guilty disliking Angela's performance, I'm certainly not going to go because the Fredrik is a good actor.

It would be like Ann going to see Desiree Armfeldt...in The Wild DUCK.

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" The "wooden ring" dialogue with the two of them is my favorite of all."

I truly hope you can see Lansbury's interpretation of that scene. I still can't get over it.

Was this production directed by Susan Stroman?

It was directed by Scott Ellis. Choreographed by Stroman.