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In 1956 upstart composer and lyricist Stephen Sondheim appealed to director/ choreographer Jerome Robbins to allow him to do both words and music to “West Side Story.” Robbins chose Bernstein for the music but allowed Sondheim the lyrics, owing to the latter’s tutelage under Oscar Hammerstein. That glittering Broadway debut instilled in Sondheim complete power over his future.
Sondheim's melodies and words are so very much more cerebral than anything done by Rodgers & Hammerstein; the love affairs more nuanced; the characters more flawed (like the rest of humanity). Even then not sufficiently challenged, Sondheim, in “A Little Night Music” created the only show featuring every song in waltz time.
In the intimacy of City Theatre’s Black Box, one has the existential experience to let the plot and characters take over you. After seeing the show about a dozen times in large venues, I finally have a grasp! This was a revelation. If you don't believe me, dial (800) R-E-A-L-I-T-Y!
The set could scarcely be sparer. The costumes have no singular leitmotif (There is no dishonor in shopping at Goodwill. All costume designers are frequent flyers), yet the enchanting tapestry of the story of the three smiles of a summer night has never been so clearly embroidered as it has by directors Michael Gray and Tom Shade.
One wonders what embellishments would be considered if City moved to a more opulent space. Yet there is charm in barrenness.
Leading this superbly talented cast is Desiree (Karen Murdock). There is no greater triple-threat talent in the state. Murdock baked up an outrageous Mrs. Lovett in the Wilmington Drama League’s “Sweeney Todd” and sang the siren in last season’s “Nine.” This performance tops them all. In the iconic “Send In the Clowns” (while sitting on a makeshift bed – not the ideal pose for breath control), like all great chanteuses, Murdock sang the lyrics, and held the notes even while her voice was cracking with emotion.
Sondheim is difficult to sing; ripe with irregular rhythms. The majority of the time there is no melody line to follow. It is compounded in “Night Music” for there are as many single parts in chorale tunes as Medusa has tentacles. This ensemble worked diligently.
The Greek Chorus had strong and compelling voices (Brian Carter, Leslie Green Shapiro, Ruth Bailis, Troy Sheaffer and Jessica Graae). Music Director Michele Ferdinand knew exactly what she needed for vocal parts as she did with her mellifluent orchestra, made up mainly of strings.
In 1956 upstart composer and lyricist Stephen Sondheim appealed to director/ choreographer Jerome Robbins to allow him to do both words and music to “West Side Story.” Robbins chose Bernstein for the music but allowed Sondheim the lyrics, owing to the latter’s tutelage under Oscar Hammerstein. That glittering Broadway debut instilled in Sondheim complete power over his future.
Sondheim's melodies and words are so very much more cerebral than anything done by Rodgers & Hammerstein; the love affairs more nuanced; the characters more flawed (like the rest of humanity). Even then not sufficiently challenged, Sondheim, in “A Little Night Music” created the only show featuring every song in waltz time.
In the intimacy of City Theatre’s Black Box, one has the existential experience to let the plot and characters take over you. After seeing the show about a dozen times in large venues, I finally have a grasp! This was a revelation. If you don't believe me, dial (800) R-E-A-L-I-T-Y!
The set could scarcely be sparer. The costumes have no singular leitmotif (There is no dishonor in shopping at Goodwill. All costume designers are frequent flyers), yet the enchanting tapestry of the story of the three smiles of a summer night has never been so clearly embroidered as it has by directors Michael Gray and Tom Shade.
One wonders what embellishments would be considered if City moved to a more opulent space. Yet there is charm in barrenness.
Leading this superbly talented cast is Desiree (Karen Murdock). There is no greater triple-threat talent in the state. Murdock baked up an outrageous Mrs. Lovett in the Wilmington Drama League’s “Sweeney Todd” and sang the siren in last season’s “Nine.” This performance tops them all. In the iconic “Send In the Clowns” (while sitting on a makeshift bed – not the ideal pose for breath control), like all great chanteuses, Murdock sang the lyrics, and held the notes even while her voice was cracking with emotion.
Sondheim is difficult to sing; ripe with irregular rhythms. The majority of the time there is no melody line to follow. It is compounded in “Night Music” for there are as many single parts in chorale tunes as Medusa has tentacles. This ensemble worked diligently.
The Greek Chorus had strong and compelling voices (Brian Carter, Leslie Green Shapiro, Ruth Bailis, Troy Sheaffer and Jessica Graae). Music Director Michele Ferdinand knew exactly what she needed for vocal parts as she did with her mellifluent orchestra, made up mainly of strings.
The piercing eyes of Fredrik (Michael Gray) engage the audience continually. His duet with Desiree, “You Must Meet My Wife,” dripped of sarcasm and sexual entendres. This is not a show of many laughs. With Sondheim, one must be content with courtesy chuckles on the cerebral side.
There were several newcomers in the cast. Anne (Dylan Geringer) has the look of a high school senior, but she does posses a BA in Theatre from the University of Pittsburgh. She possesses a charming voice, but her facial expressions were a bit too “Generation X.”
Henrik (Ryan Townsend) displayed a clarion tenor from so thin a frame. Count (Dorien Belle), another great voice and relished playing the roué that he was. Countess (Victoria Healy) has a malleable and expressive face herself.
Petra (Casey Gill), another newcomer, has her moment very near the choral finale with “The Miller’s Son.” There is both playfulness and sensuality in her beaming eyes and her voice was as good and true as this exuberant ensemble cast.
