| The Light in the Piazza | |
|---|---|
| Music | Adam Guettel |
| Lyrics | Adam Guettel |
| Book | Craig Lucas |
| Basis | Novella by Elizabeth Spencer The Light in the Piazza |
| Productions | 2003 Seattle 2005 Broadway 2006 US National Tour |
| Awards | 2005 Tony Award for Best Score Drama Desk Outstanding Music |
The Light in the Piazza is a musical with a book by Craig Lucas and music and lyrics by Adam Guettel. Based on a novella by Elizabeth Spencer, it is set in Florence and Rome in the summer of 1953. A young American tourist, Clara Johnson, meets and falls for young Italian Fabrizio Naccarelli. When Clara's mother Margaret learns of the affair, she opposes it for reasons that only gradually become clear to the audience.
The score breaks from the more recent tradition of pop music on Broadway by moving into the territory of Neoromantic classical music and opera, with unexpected harmonic shifts and extended melodic structures, and is more heavily orchestrated than most Broadway scores. Many of the lyrics are in Italian or broken English, as many of the characters are fluent only in Italian.
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The Light in the Piazza was developed as a musical at the Intiman Playhouse in Seattle in June 2003 and then at the Goodman Theatre in Chicago in early 2004.[1] After 36 previews, the Broadway production opened on April 18, 2005 at the Vivian Beaumont Theatre in Lincoln Center, where it ran for 504 performances and closed on July 2, 2006. The musical is directed by Bartlett Sher, choreographed by Jonathan Butterell, with lighting by Christopher Akerlind, set by Michael Yeargan and costumes by Catherine Zuber. The cast featured Victoria Clark, Kelli O'Hara, Matthew Morrison, and Sarah Uriarte Berry. Chris Sarandon joined the cast as Signor Naccarelli later in the run, Aaron Lazar was a replacement in the role of Fabrizio Naccarelli and Katie Rose Clarke was a replacement in the role of Clara Johnson. In the pre-broadway production in Seattle and Chicago, Kelli O'Hara played the role of Franca rather than Clara (who was played by Celia Keenan-Bolger), and Steven Pasquale had played Fabrizio, but could not open on Broadway due to a conflict with the television series Rescue Me that he had just joined.
On June 15, 2006, shortly before its closing night, the show was broadcast on the PBS television series Live from Lincoln Center, and drew more than two million viewers.[2]
A United States national tour starring Christine Andreas as Margaret, Elena Shaddow as Clara, and David Burnham as Fabrizio Naccarelli started at the Orpheum Theatre in San Francisco, California, in August 2006 and ended in Chicago on July 22, 2007.[3]
A Japanese production of the musical was produced in December 2007, having a limited engagement of about a month. It starred Kaho Shimada as Margaret Johnson.
An Australian concert version had a one-night only presentation at the Lyric Theatre, Star City in Sydney on August 17, 2008. The cast consisted of members of the Australian company of The Phantom of the Opera, with Jackie Rees as Margaret, Kathleen Moore as Clara and James Pratt as Fabrizio. The production was directed by John O'May.[4]
In the summer of 2008, Guettel reconfigured the musical as a smaller chamber piece for the Weston Playhouse Theatre Company, Weston, Vermont, where Sarah Uriarte Berry reprised her role as Franca.[5]
The show had its opera house premiere in October 2008 at Piedmont Opera in Winston-Salem, North Carolina. It starred Jill Gardner as Margaret, Sarah Jane McMahon as Clara, directed by Dorothy Danner and conducted by James Allbritten.[6]
The show opened as a regional production in the Covina Center for the Performing Arts (Covina, California) in January 2009.[7]
The Lethbridge Symphony Orchestra in Alberta presented the musical at the Yates Memorial Theatre October 19–21, 2009 which was the Canadian première.[8] Directed by Fran Rude and musical direction by Ken Rogers this production starred Diane Llewelyn-Jones as Margaret, Nicole Higginson as Clara and Steven Morton as Fabrizio.
The Berkeley Street Theatre in Toronto saw the Canadian première by Acting Up Stage open on January 30, 2010.[9]
The Arena Stage (Washington, DC), production ran from March 5, 2010 through April 11, 2010, with Hollis Resnik as Margaret.[10][11]
The European premiere was directed by Paul Kerryson at the Curve Theatre, Leicester, UK in May 2009, starring Lucy Schaufer as Margaret and Caroline Sheen as Clara, with design by George Souglides, musical direction by Julian Kelly, lighting design by Giuseppe di Iorio, sound design by Paul Groothuis.[12]
ACT 1
In the early morning of their first day in Florence, Margaret reads from her guidebook to Clara as the piazza around them is waking up and coming to life (Statues and Stories). A breeze carries Clara’s hat off her head and across the square where a young Italian man miraculously catches it, mid-air, and returns it to her. The two are instantly smitten. But Margaret steers her daughter away from the encounter, bringing her next to the Uffizi Galleries where the glorious paintings speak to Clara of her own life and her own yearning for love (The Beauty Is). Fabrizio appears, hoping to arrange a time to meet with Clara, but once again Margaret intervenes.
Alone, Fabrizio sings in Italian his declaration of love at first sight for Clara, along with a heartfelt cry of fear that she could never love anyone as lost and without position as he (Il Mondo Era Vuoto). Fabrizio begs his father and his brother Giuseppe to help him dress more presentably for Clara (American Dancing).
At the Duomo, Fabrizio once again catches up with Margaret and Clara, and this time Fabrizio’s father, Signor Naccarelli, is able to help penetrate Margaret’s resistance to any further involvement. They all agree to meet at sunset to take a walk and admire the view of the city from above at the Piazzale Michelangelo (Passeggiata).
Margaret and Clara are invited to have tea at the Naccarelli home. Giuseppe’s wife, Franca, takes Clara on a tour of the apartment, and alone in a separate room, she warns Clara about ever trusting a husband (The Joy You Feel). Though the Naccarellis are universally impressed with Clara, Margaret tries without success to share her deep reservations. When she looks in Fabrizio’s eyes and sees the love there, she can’t bring herself to disappoint him, as much as she feels she must; for there is something about Clara that none of these people knows. Clara secretly makes plans to meet Fabrizio at midnight near the hotel.
Margaret calls her husband Roy who is back in the states. She tries to tell him what is happening with Clara and Fabrizio, but he is brusque and not very understanding, cutting short the conversation. Margaret, alone in her hotel room, sings of her disappointment in the marriage (Dividing Day). She checks in Clara’s room, and she finds the girl is gone.
Clara becomes lost in the maze-like streets of Florence, losing all poise and control, becoming hysterical, screaming like a child (Hysteria). Her mother takes her back to the hotel and, as Clara sleeps, reveals the source of her disquiet. When Clara was a young girl, she was kicked in the head by a Shetland pony, and the accident has caused her mental and emotional abilities to develop abnormally. Margaret feels that she must take Clara away from Florence at once, and she steps down into the lobby to have a drink. While she is away, Fabrizio comes to the room, distraught; he cannot find the right words to express his feelings, and Clara urges him to use any other means (Say It Somehow); Clara accepts Fabrizio’s proposal of marriage, and the two are embracing, half undressed, as Margaret walks in on them.
ACT 2
Margaret takes Clara to Rome to distract her and put an end to the affair. Back in Florence, Fabrizio rails and weeps, once again singing entirely in Italian (Aiutami).
No matter what Margaret tries, her daughter refuses to give her an inch, culminating into a painful confrontation wherein Margaret slaps Clara across the face. Clara erupts with a torrent of feeling, centered on Fabrizio and the nature of love (The Light in the Piazza). This causes Margaret to relent, to set aside her doubts and considerations, and to no longer stand in the way of the wedding. The two return to Florence.
Clara is instructed in the Latin catechism in preparation for converting to Catholicism while around her everyone in the extended family sings of their feelings, stirred up by the immediate presence of such intense, young love (Octet). Franca, in an attempt to arouse her husband’s jealousy, kisses Fabrizio right on the mouth, and Clara witnesses it, breaking into a furious rant (Tirade).
At the wedding rehearsal, Clara and Fabrizio are filling out the necessary forms when Signor Naccarelli sees something on Clara’s form that causes him to call off the wedding and take his family away at once. Clara wants to know what is wrong with her, but her mother says there is nothing at all wrong. With Clara sobbing and broken, alone in one of the pews of the church, Margaret reveals her worst fears and her shame at having been the source of her daughter’s lifelong suffering (The Beauty Is [Reprise]). She resolves to do whatever it takes to give to Clara a chance for happiness.
Margaret tries to reason with Signor Naccarelli. He admits that he saw Clara write her age on the forms – 26 – and that this makes her an unsuitable bride for his son who is only 20. Relieved that he has not discovered their secret, Margaret begs him to change his mind, but he will not. She invites him to take a walk with her, and the two wander from one end of Florence to the other as the sun slowly sets and the night comes on (Let’s Walk). By giving him time to mull things over and by not pressuring him, Margaret succeeds in putting the wedding back on track; Signor Naccarelli says he will meet them at the church the following morning.
From the hotel room, Margaret calls Roy to tell him about the wedding. As might be predicted, he insists that Clara cannot handle the responsibilities of marriage. Clara, in her wedding dress, stands in the shadows, overhearing her mother’s side of the conversation. Margaret says, “Just because she isn’t normal, Roy, doesn't mean she's consigned to a life of loneliness. She mustn't be made to accept less from life just because she isn't like you or me.” Shattered, Clara slips out of the hotel room and runs once more through Florence (Interlude), meeting Fabrizio at the church in order to tell him that she cannot marry him; she won’t allow herself to cause him any pain. Fabrizio assuages all of her fears (Love to Me).
Moments before the wedding, Clara tells Margaret she can’t leave her; Margaret assures her she can. Left alone, Margaret breaks open all the pent-up doubts and yearnings that she has carried for years on end about love (Fable), realizing at last that the chance of love somehow outweighs the terrible risks. She joins the wedding ceremony.
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CurtainUp called the musical a "gorgeously staged and musically sophisticated adaptation... the Guettel sound is nevertheless plush and enjoyable with a genuine musical theater sensibility.... Lucas has made room for the young lovers' voices and retained enough of the psychological complexities to prevent this from being the dated soap opera it could easily have been."[13] The Village Voice, commented: "It has some considerable shortcomings...but its main distinction is that its humanity separates it from the bulk of current musical theater."[14]
Critic John Simon, in NY Magazine, wrote: "...anyone who cares about the rather uncertain future of this truly American genre should—must—see the show, think and worry about it, and reach his or her own conclusions.... Lincoln Center Theater’s production is breathtaking. Craig Lucas’s book seems perfectly adequate to me, but the emphasis must be on Adam Guettel’s music and lyrics. Those lyrics, I’m afraid, are a bit self-consciously poeticizing, a trifle arcanely oblique."[15]
Ben Brantley, in The New York Times, deemed the show "encouragingly ambitious and discouragingly unfulfilled... the production comes into its own only in the sweetly bitter maternal regrets and dreams of Margaret Johnson." He further made special mention of the "gorgeous autumn-leaf-strewn set", the "lush golden lighting" and "the delectable period costumes".[16]
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