In the Blink of an Eye
A LITTLE NIGHT MUSIC IN LONDON
by David K. Newell
A Little Night Music at the National Theatre is a truly beautiful
production, that has been framed by a very interesting directorial insight.
Director Sean Mathias begins the production (after the sung overture) with
two female figures (an adult and a child) dressed in white, lying on the
stage behind a scrim with an enormous gold and crystal art-nouveau
chandelier overhead. As the Night Waltz begins the two figures rise and
begin to dance playfully. As they do, the chandelier (which comes to
represent Mme. Armfeldt's country house) and the scrim rise, and they dance
off and are replaced by the rest of the cast in the customary dance of
switching partners.
Now, what is very interesting about this is that the two women are not, as
I first suspected, Desiree and Fredrika. The adult woman was obviously not
Judi Dench. It occured to me that what I might be watching was a young
Mme. Armfeldt (young, since she had dark hair, and seemed to resemble Sian
Phillips, but scrims are foggy after all) and possibly a young Desiree.
This suspicion of mine was confirmed when at the end of the production,
after her death and at the conclusion of the Night Waltz, Mme. Armfeldt
reappeared (in her dark act two costume) with the young girl (this time
obviously the same actress who played Fredrika), lay down in the same
positions they took at the beginning, as the scrim and chandelier also
returned.
I was struck, and very moved, by the idea that everything we had been
watching was the last blink of Mme. Armfeldt's eye (or mind) before her
death, when she could finally achieve peace knowing that Fredrika would be
properly cared for and that Desiree had found true happiness. I'm not sure
how many other people seeing this production got the same impression (or if
I'm WAY out in left field) but it all felt so right, I'm certain it must be
the case.
This reminded me of a production I had worked on as Asst. Scenic Designer
while a student at San Francisco State University. The director, at the
prodding of our chairman, decided that the story was really Mme.
Armfeldt's, since she needs to get her house in order to be able to die.
In that production Mme. A. had magical powers, shown in her cards. The
Liebeslieders were the faeries who did her bidding, causing the events to
unfold (and harking back to the original conception of ALNM as a more
magical/fantasy story). (BTW, this helps to explain how Mme. A appears on
the scene to sing Liasions and can "see" what Desiree is up to) and I found
it very interesting that Mr. Mathias came to a similar conclusion, but
found a very different, and more subtle, way of showing it.
But, onto the actual production, now that I've dealt with it's first and
last moments.
The story may belong to Mme. Armfledt, but this production belongs to
Desiree thanks to the dynamic and touching performance of Judi Dench. She
is alternately grand, silly, sincere, touching, deeply angry but always
full of heart. While it is true that her singing voice has some bumps you
can never fault her acting or her deep understanding of this woman. And,
actually, I wouldn't expect a character like Desiree to sound beautiful
anyway -- she's older, more experienced and would not sing like a beautiful
young ingenue. Which is obviously why the part has been cast, from the
beginning, with actors who convey the right feeling of Desiree in all
aspects of their performance, including vocal quality.
It was a treat to see her tear into this role and bring out levels I'd
never seen before. A wonderful scene was the singing of "You Must Meet My
Wife" where Ms Dench does not see fit to just stand idly by and mutter
bitchy asides. Her Desiree's obvious motivation is to get Fredrik to SHUT UP
and into bed as quickly as possible. To that end she tries gesturing to
the bedroom, tries (unsuccessfully) to pour him another schnapps and then
takes a large swig from the bottle herself, and many other strategems to
make him stop rattling on so. It all smacks of upstaging (and broad
farce), but it works and makes the song even funnier than before.
And then, of course, there is her rendition of Send In The Clowns. Blowing
years of dust (and sugar) off that song she fulfills Sondheim's idea that
it is a song about ANGER. This was made very clear thanks also to Laurence
Guittard's clear-as-a-bell delivery of his "when my eyes are open" speech
that comes right before the song. I've heard that speech many times but
never really HEARD it until I saw him and Ms. Dench's reaction.
In the first part Fredrik makes her believe that he will be hers and she
puts her head against him, joyfull and content. Then the speech changes
and he explains that he really wants to stay with Anne. The look on
Desiree's face spoke volumes (underscored but that haunting intro. to the
song) and made her opening, almost venemous, "Isn't it RICH?" strong as a
slap in the face. Then once Fredrik has left, her resolve begins to fade
and she cracks, facing the uncertainty of her future. A performance that
truly deserves the term "brilliant".
I found the rest of the cast mostly excellent, particularly Patricia
Hodge's weary and tortured Charlotte. I look forward to hearing "My
Husband the Pig" on the CD since it goes by rather fast, but it's a nice
addition giving Charlotte more to do and helping define her character. It
just occured to me that Charlotte is something of a sister character to
Joanne in Company, since they both use their fire-cracker wit to make up
for the pain inside. Ms. Hodge very capably portrayed this depth of
Charlotte, while clearly reveling in her banter. I'm reminded of one of my
favorite lines of hers when Malcolm tells her to watch the others like a
hawk. "You're a tiger, I'm a hawk, we're our own zoo." Terrific.
Of course the other major musical addition was the combined "Glamourous
Life" from stage and film. I really like the film lyrics so it was nice to
hear them again. Although I'm not sure the way they've combined them is
the most effective. This is another part I'll look forward to hearing on
CD to give it more thought. But I must say it didn't significantly weaken
Desiree's entrance which was the reason Sondheim had given in the past for
not using it. Of course when you have a dynamo like Judi Dench and she's
got 20-30 foot tall lavender curtains swooshing apart for her entrance... I
think you get the idea.
Sian Phillips was a nice and pithy Mme. Armfeldt, doing very well with what
must be my favorite moment in the show, the "wooden ring" speech,
underscored by that gorgeous "Liasions" melody. Just beautiful.
One exception, for me, was Joanna Riding's Anne. I found her to be a bit
too arch and petulant. Anne began to verge on being very unpleasant and
nasty, not just young and silly. My friend described it as a very
"British" performance (I hope that's not an insult), but the audience did
seem to find her very amusing so I suspect it is a type that I just don't
personally respond to. She did do very well by her music and I did like
her better as the evening went along. Really just a minor quibble. Both
she and Ms. Hodge did a terrific job with another favorite song, "Every Day
A Little Death", very haunting and moving.
Speaking of minor quibbles... if was unfortunate that since the orchestra
is on stage (stepped platforms stage left) that they allowed the musicians
to wear street clothes at the performance. Would have been much more
elegant (and appropriate) to have them in formal black. Also, sitting
closer to the orchestra on house right, they did tend to drown out some
dialogue and lyrics but I suspect that has to do with playing loud enough to be
heard in the entire house. I understand the acoustics in the Olivier are
rather dicey so I suppose they did the best they could.
The Liebeslieders were excellent with a nice Mephistophelian (if that's
even a word) touch to them. A slightly sinister edge that seemed to fit in
with their role of commentators on the romantic foibles of others.
The staging worked very well in the truly enormous Olivier Theatre. Only
occasionally did people seem too far away from the audience or from each
other requiring them to yell dialogue that could be spoken in a smaller
venue. It was a personal thrill for me to see the Olivier's famous (or
rather, notorious) drum revolve in action for the first time. I could
excuse the infrequent rumblings for the cinematic fluidity that it gave to
the first act. The capability of changing levels was used well with the
Egerman's two level flat (parlour upstairs, bedroom down), and the revolve
giving us wonderful images like Fredrik walking pensively down the hall to
Desiree's dressing room as the scene changed to her "digs".
The use of pale lavender for the floor and surround of curtains (and Mme.
Armfeldt's magical wine, nice touch that!) was the perfect color backdrop
for the show. The individual pieces of scenery (Desiree's red rose bed,
the diarama of trees and lake, the sprinkling of red flower petals) also
created just the right atmosphere, thanks to the set designer Stephen
Brimson Lewis' impeccable taste. The same for Nicky Gilabrand's lovely
clothes including some knockout hats for Desiree and Charlotte.
Credit also to Mr. Mathias and the choreographer Wayne McGregor for the
fluid use of movement of the characters when the turntable was spinning and
when it wasn't. One particularly effective choice was in the scenes after
the dinner party in act two. By having all the servants (not just Petra
and Frid) galavanting through the night in half-dressed erotic play, it
more clearly contrasted the silliness of the lead characters headtrips. It
also gave a clearer framework for "The Miller's Son" in a good (if not
amazing) performance by Issy van Randwyck. I'm always surprised when
someone tells me they don't get why that song is in the show. I think this
production made it very clear.
And, (double bravo) finally a production of ALNM that was able to make it
clear when the night smiled!!! Thanks to Mark Henderson's flood of
lavander light and Mr. Brimson Lewis' magical chandelier -- I finally saw
it done effectively and subtly. Of course the problem is that by the time
it happens it was discussed 2.5 hours earlier, but this person greatly
appreciated the effect.
All in all, a lovely achievement that has thankfully be saved forever on
CD. To have lost (at the very least) Judi Dench's performance to the
memories of those fortunate to be present at the Olivier would have been a
shame. Now let's just hope they recorded everything we want to hear... and
maybe even a little more.
This production, along with Company and the NT Carousel is leading me to
believe that the English (and Australians, for that matter) now know how to
do "our" shows better than we do. I hope we can learn from their fresh
viewpoints and serious study of text and song to begin doing similarly
important work here. It's time to stop feeling locked into the traditional
methods of presentation that can encompass the metaphorical and mysterious
in addition to the practical and literal.
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