The Ogunquit Playhouse is filling its summer nights with a little night music- literally.
“A Little Night Music” is a sophisticated musical comedy with music and lyrics by Stephen Sondheim and book by Hugh Wheeler set in early 20th century Sweden. The story revolves around a complex web of relationships and romantic entanglements among the privileged upper class.
While the music was written before the likes of Sondheim’s “Into the Woods” and “Sweeney Todd,” there are many musical numbers that sound similar to the fractured fairy tale show and the demon barber of Fleet Street. Only Sondheim fans will notice this and find it somewhat amusing.
At the center of the story is Desirée Armfeldt (performed magnificently by Julia Murney), a fading actress, and her former lover, Fredrik Egerman (Mike McGowan.) Fredrik has been married for 11 months to a much younger woman, Anne (Lauren Maria Medina), with the marriage yet to be consummated. His old feelings for Desirée are rekindled when her traveling theater troupe comes to town.
Further confusion arises when Fredrik’s son, Henrik (Steven Telsey), a self-righteous student studying to become a minister has a secret love for his virginal stepmother, a lust unbeknownst to her. He’s also being pursued by a perky housekeeper, Petra (Gianna Yanelli) who wants to introduce him to the desires of promiscuity.
After a tryst with Desiree, Fredrik is confronted by Desiree’s current lover, Count Carl-Magnus Malcolm (Nik Walker), a conceited and jealous fellow who is regularly cheating on his own wife, Charlotte (a remarkably comic performer, Lora Lee Gayer.)
The action culminates in a weekend retreat hosted by Desiree’s crusty mother, Madame Armfeldt (played by Hollywood and stage star, Kathleen Turner. The one and only!) who has taken tutelage of her granddaughter, Fredrika (Lily Philbrook) to save her from the evil ways of Desiree’s checkered lifestyle. The weekend brings everyone’s secrets and passions to a head with a series of misunderstandings, revelations, and unexpected pairings as the characters navigate their desires and regrets.
I had never seen “A Little Night Music,” but with its witty dialogue, elegant score, and exploration of the complexities of love and relationships, the show is a grand and enchanting musical.
The playhouse's stage is transformed into a world of elegant drawing rooms and sunbathed gardens, perfectly evoking the languid atmosphere of early 20th century Sweden. Director Hunter Foster's vision is clear and concise, allowing the story's emotional depth to unfold naturally with nuanced performances and wonderfully comic moments.
The heart of the production is in Murney and McGowan’s tempestuous rekindled romance. Murney’s voice is a powerful instrument, and she brings a captivating passion to the role of the former lover. Her rendition of the show’s iconic song, “Send in the Clowns” is hauntingly beautiful and nothing like I’ve ever heard before. (While I have heard the song many times, it has never taken on such meaning as seeing it in the context of the show.)
McGowan is exquisitely charming as the conflicted lawyer, ever so stoic, until whimsically in love while in Desiree’s embrace. With a slew of Broadway credits (Book of Mormon, Ragtime, The Producers and much more) McGowan captivates the stage with a solid voice and oozing elegance.
Holding court with the best comic moments of the evening are Walker and Gayer as a sexually charged husband and wife, with no preference for monogamy. This duo blends a nonstop series of double takes, pompous poses, and well placed one liners into characters that the audience simply devours. They are brilliant.
Hollywood and stage great Kathleen Turner as the aging courtesan is in her element with understated elegance and wry humor topped off with her sultry trademark voice. (You recognize her with the first word uttered onstage.) She’s perfectly cast, giving advice to her doting granddaughter, played by Lily Philbrook, a youthful and poised actor showing no sign of intimidation sharing the stage with a Hollywood great. Turner effortlessly commands the stage, her voice rich and resonant as she delivers Sondheim's reflective number, “Liaisons.”
Telsey's Henrik, the awkward son, is both endearing and hilarious especially singing about his uneventful life in “Later.” Medina is the epitome of virginity until she runs away with Henrik.
A welcomed surprise of the evening is a soulful tune called “The Miller’s Son” sung by the housekeeper portrayed by Yanelli after a fling with one of the servants. While “Send in the Clowns” gets all the fanfare in this show, “The Miller’s Son” is equally profound and stirring as it explores sexual freedom for a young woman finding her way in life. Yanelli’s performance is moving and heartfelt.
Sondheim's score is a masterpiece, and the Ogunquit Playhouse orchestra delivers a stunning performance. The musicians capture the music's complexity, and their playing is exhilarating. The choreography, while simple, is effective in enhancing the story's emotional impact. And as for the supporting cast, the voices have an operatic grandeur to them that are memorable in the ensemble numbers.
The sets in “A Little Night Music” are exceptionally detailed with a scenic design by Riw Rakkulchon. The grandeur of a palatial romping ground for the getaway weekend in the woods is particularly stunning. A revolving stage adds to the flow of the story and characters.
Costumes by Hunter Kaczorowski and wigs, hair design, and make up by Roxanne De Luna are elegant and detailed for the time period represented.
“A Little Night Music” at the Ogunquit Playhouse is a special theatrical experience especially if you haven’t seen the show before. You can’t beat the combination of a Sondheim musical score, a vibrant cast and the chance to see Katheen Turner on the Seacoast stage.
Photos: Nile Scott Studio
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