'Light in the Piazza' shines
With “The Light in the Piazza,” Raleigh Little Theatre achieves an unprecedented level of dramatic and technical excellence, impressive in its depth and sophistication.
Based on Chapel Hill writer Elizabeth Spencer's novel, the show traces a tender love story unfolding during a trip to Italy in 1953 by Winston-Salem socialite Margaret Johnson and her daughter Clara. In Florence, Clara falls in love with Fabrizio, the son of a local businessman. Margaret discourages the romance because of Clara's vulnerability, a childhood accident having slowed her mental development. Torn between motherly protection and her daughter's happiness, Margaret finally gives in, but the wedding plans are threatened by several revelations.
Adam Guettel's score is not the instantly hummable variety but more like dialogue set to music, sometimes quietly melodic but often fragmented and quirky. This nontraditional aspect may be a deal-breaker for some, but for those who allow the music to work its magic, the experience can be exhilarating and moving.
This show particularly requires sensitively expressive performers, found here down to the last street vendor. Topping the list is Megan Crosson's Margaret, one of the finest characterizations seen locally in many a season. Her Southern accent and old-world manners are charming, while her sly humor and experienced maturity make Margaret a multi-layered totality. Crosson's secure singing convincingly illuminates the odd little byways of each number.
Katie Hennenlotter's Clara exudes youthful ardor and innocence, heartrending in her quest to be free of her mother's control. Mark Ridenour makes Fabrizio's father, Signor Naccerelli, a properly stern parent but also a free-spirited romantic, his attraction to Margaret delicately handled. If Brent Blakesley's Fabrizio is too youthful and his singing not fully capable of the score's range, he successfully conveys the character's good intentions and passionate emotions.
Edward Cooke invests Guiseppe, Fabrizio's brother, with cocky humor, nicely balanced with Katherine Anderson's sassily sexy Franca, Guiseppe's wife. Jeff Cheek contributes a well-rounded cameo as Margaret's husband, while Tricia Strong gives Fabrizio's mother loving warmth.
Rick Young's designs are some of the most beautiful ever seen in this theater. His Florentine alleyways, churches and museums are richly detailed, especially under Joshua A. Reaves' burnished lighting, and make suitable backdrops for Vicki Olson's terrific 1950s fashions. Julie A. Florin's musical direction has the score well in hand, although miking adds harshness.
Director Haskell Fitz-Simons knows how this material should go, emphasizing the little nuances but keeping the whole sweeping along. This fine first local production of the show sets the bar high for any that come after. music_theater@lycos.com