What a wonderful night at the theater! You can both lose yourself in the music, and completely relax watching actors who are so totally professional. Just having Angela Lansbury and Catherine Zeta-Jones on stage in the same production is worth the price of admission, and this is an evening that’s so much more.
The scenery’s not very impressive; mirrored doors in Act I, which convert to a forest with realistic birch trees on stage for Act II. Much more spectacular are the turn of the century costumes, which start out created all in black. For the later country scenes, the cast is dressed in shades of cream and white. Of course, Catherine Zeta-Jones, as the irresistible actress Desiree Armfeldt, has all the best outfits, feathers and all. The knockout garment is the scarlet gown Desiree sports during her onstage turn as an actress, and boy, does she ever know how to wear it.
In a season resplendent with stars, Catherine Zeta-Jones is the one who tops the theatrical Christmas tree. If anyone doubts her chops, just watch her bring down the house with her dramatic interpretation of the oh-so-familiar “Send in The Clowns.” We’ve heard it done a million times, but never quite like this. Anguish, wry humor, yearning and hope are all intermingled with her strong, sure vocal delivery. There are other actresses who can and have played this role, but it’s impossible to imagine anyone who could be so well cast. Yes, she won an Oscar for her killer (literally) turn in Chicago, but it’s the warmth and intelligence she brings to Desiree that make her so much more than a great song and dance gal. Her status as one of the most beautiful women in the world is guaranteed, but her carriage, poise, and the ability to connect with the audience make her a potent stage actress, too. This is, to put it mildly, a rare and precious combination.
What more praise can be heaped on Angela Lansbury? She’s won five Tony Awards, the last for her hilarious portrayal of Madame Arcady in Blithe Spirit. Here, as Desiree’s imperious mother, Madame Armfeldt, she rules the house from a wheelchair. No matter, she is completely in command on stage. When she pronounces: “All Scandinavians are insane,” she neatly sums up the plot and garners a huge laugh. With one line, “I am deeply suspicious,” she demonstrates why watching her work is a must for any aspiring actor, a Master Class in how it’s done. And a rich treat for the audience, as well.
There are other standouts in the cast, too. Aaron Lazar is a Broadway actor who is never out of work. Having enjoyed his performances in the past, I wasn’t surprised to see him turn the pompous, egotistical jerk Count Carl-Magnus Malcolm into an almost likeable fellow. His voice is no less than glorious, and I’d like to personally thank director Trevor Nunn for that shirtless scene.
Leigh Ann Larkin brought an intriguing note of sensuality to her performance as Dainty June in the recent revival of Gypsy, and here, her sexuality is turned up full blast. Her Petra is randy, compassionate, a bombshell in a maid’s uniform. It’s wonderful to see her get a star turn number, “The Miller’s Son.” Long a staple in cabaret acts, this song works best when sung by a performer who not only has a gorgeous voice, but who also possesses superior acting talent. Larkin’s rendition is as close to perfect as is humanly possible.
The role of Fredrika Armfeldt is played by two different actresses, depending on the schedule of the show. I saw the delightful Katherine Leigh Doherty, and there’s no greater compliment than to say she is totally believable as the daughter of Zeta-Jones, both in looks and charm.
There’s not a better director working today than Trevor Nunn, and once again he proves why he’s so well regarded. I would quibble about the need to make the sexual action so blatant, but that’s about the only fault I can find. Although the tempo of the music seems a bit slow, the production never is. We care about the characters onstage, and we appreciate their passion, frustration, and quest for the elusive perfect love. It’s rare that lyrics come so vividly to life, and obvious that the director has stressed emotion before concerns about the notes.
For as the men and women on stage waltz and change partners, squabble and cheat and make up excuses for bad behavior, at the core, the heart of this show is what’s most important. Long may it keep beating.
Photos by Joan Marcus
A Little Night Music
Walter Kerr Theatre
219 West 48th Street.
www.nightmusiconbroadway.com
Tickets: Telecharge, 212-239-6200; $52- $137.
Michall Jeffers is an accomplished cultural journalist. Her eponymous cable TV show is syndicated throughout the tri-state area, and features celebrity interviews, reviews, and commentary. She writes extensively, both in print and online. She is an active member of Drama Desk, Outer Critics Circle, American Theatre Critics Association, International Association of Theatre Critics, Dance Critics Association, and National Book Critics Circle.
