The banners on the Dorothy Chandler Pavilion say Los Angeles Opera. But the company’s current production of Adam Guettel’s “The Light in the Piazza” is a Broadway musical through and through.
Based on the novella by Elizabeth Spencer, the show (direct from its London engagement at the Royal Festival Hall) is as light and airy as a spring day in Florence with a few dark family secrets held in reserve for suspense and conflict.
It may not be an opera, but the cast does feature a genuine operatic superstar — Renée Fleming, in the leading role as Margaret Johnson, a wealthy Southerner who is taking her mentally “different” daughter on a vacation to Florence. The cast also includes one genuine Broadway superstar — Brian Stokes Mitchell, as Signor Naccarelli, a dashing Florentine haberdasher with an impressionable young son and a roving eye for the ladies.
When “The Light in the Piazza” opened at Lincoln Center in April 2005, it received mixed reviews. The score earned the most praise for breaking away from a string-of-hits formula in favor of more complex harmonic structures, orchestral mood swings and rhythmic variations. Guettel took home the Tony Award for Best Musical Score, as did Victoria Clark who sang the role of Margaret Johnson. A Broadway touring company arrived in Los Angeles (at the Ahmanson Theater) in 2007. And now we have the latest incarnation by way of London presented by LA Opera.
The first act of “The Light in the Piazza” is a tiramisu, “Oh my, isn’t Florence lovely,” love-at-first-sight confection. It’s as breezy as the plot devise that blow’s Clara’s hat into the outstretched hands of doe-eyed Fabrizio Naccarelli (Rob Houchen). All questions regarding darker motivations, strained relations between mother and daughter, and the truth behind Clara’s “differentness” are left to Act 2.
Fleming, who has been moving into the realm of Broadway musicals, having recently starred in a revival of “Carousel,” fits easily into the role of Margaret Johnson, a woman trapped in a loveless marriage, filled with regrets for things that might have been, and overly protective of the 26-year-old daughter she sees as forever young.
Clara is played with childlike giddiness by Dove Cameron, who prior to taking on the role in the London production portrayed Cher in the off-Broadway production of “Clueless: The Musical.” Cameron is charming as the innocent abroad. And whatever her mental impairment maybe, it may be hinted at but Fabrizio, the members of his family can’t see it.
The shadows that will obscure the light in the piazza come out into play later: conflicts resulting from Margaret’s love-starved marriage; the revelations regarding Clara’s age and mental condition; and ultimately the question of whether love can conquer all?
Throughout the performance Fleming’s voice shines, whether she’s introducing Clara to the wonders of Florence (“Statues and Stories”); trying to evaluate which life path to follow in her memorable duet with Stokes Mitchell (“Let’s Walk”), or rhapsodizing about life’s possibilities (“The Light in the Piazza”).
Cameron flutters like a butterfly through Act 1 totally captivated by the young man who has won her heart in an instant and insinuated himself into her life — which her mother sees instantly as a threat to their stability. It’s in Act 2 that Clara shows Fabrizio’s family and her mother that she’s got some real spine under her light summer frock. Cameron’s bright Broadway-style voice blends nicely with Houchen’s even if his Italian accent is nondescript.
Brian Stokes Mitchell is a dynamic presence whenever he is on stage. It’s just a shame he doesn’t have more to sing. Nevertheless, his duet with Margaret (“Let’s Walk”), when the two are alone on the stage stands out as a dramatic and vocal turning point.
Liam Tamne and Celinde Schoenmaker add a hint of “La Dolce Vita” pizzazz as Fabrizio’s brother and sister-in-law, Giuseppe and Franca. Every time Schoenmaker’s on stage, her presence stands out like a struck match in a dark room!
The cast is accompanied ably by the conducting of Kimberly Grigsby. The single set that doubles for Florence and Rome is by Robert Jones. The period-evoking costumes are by Bridgitte Reiffestuel.
Daniel Evans’ direction paints in heavy strokes, often for laughs rather than subtleties. He’s happy to let the sun shine in when a touch of Tennessee Williams-shadows could make “The Light in the Piazza” feel more relevant than dated.
The audience for Saturday’s opening performance clearly came to enjoy a musical and the chance to see Fleming, Cameron and Stokes Mitchell. Judging by their ovation, they went home happy.
Jim Farber is a Los Angeles-based freelance writer.
Los Angeles Opera: “The Light in the Piazza”
Rating: 3 stars
Where: Dorothy Chandler Pavilion, 135 N. Grand Ave, Los Angeles.
When: 7:30 p.m. Oct. 17, 18 and 19; 2 p.m. Oct. 19 and 20
Tickets: $19- $199
Running time: 2½ hours with on intermission
Suitability: For adults and mature young people
Information: 213-972-8001, laopera.org
