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Tenuous scene changes, promising performances, and Stephen Sondheim‘s dazzling score are hallmarks of Opera in the Heights’ season-opening production of A Little Night Music. While there are some areas for improvement in this evening’s performance, this production is a music lover’s dream, offering the chance to witness this score delivered with a truly classical voice. 

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A Little Night Music is Stephen Sondheim‘s elegant, waltz-filled musical that follows a web of romantic entanglements among Sweden’s upper class during a summer weekend in the country. At its center is actress Desirée Armfeldt, whose unexpected reunion with former lover Fredrik Egerman sets off a chain of jealousies, revelations, and rekindled passions involving Fredrik’s young wife Anne, his melancholic son Henrik, Desirée’s possessive lover, Count Carl-Magnus, and his wife Countess Charlotte. As the characters gather at Desirée’s mother’s estate, the long Scandinavian twilight works its magic, unraveling secrets and prompting honest confrontations. With its lush score, including the beloved Send in the Clowns, the musical ultimately celebrates the messy, humorous, and profoundly human pursuit of love in all its imperfect forms.

First, this production is in desperate need of direction beyond the characters’ singing. Theatrical directors are often the air traffic controllers of a production, as they are the final say on scenic elements, costuming, and overall production. However, while director Alyssa Weathersby is relatively young in her career, it is evident that she is still learning how to “block” a production. Multiple instances during the performance in which scene changes took more than 10 minutes to go from one to the next were daunting. This problem would only increase when a long scene change amounted to less than five minutes of dialogue or a book scene.  

Additionally, attention to the scripts’ nuances is a must for this production, and Wearthersby would do well to focus on this matter in future incarnations of her directing a production. While some of the script’s jokes were on bright display, see later about the Countess, it was apparent that these were more actor choices rather than directorial. For example, at the reunion of Desirée and Frederick, there is a tremendous amount of wordplay and sparring of words, and unfortunately, there was a miscarriage of intention. 

Also, much applause should be given to Opera in the Heights for casting only local performers. These are all young and brave voices; however, because of a lack of direction, the performers often felt awkward portraying characters who were much older than they were. 

While these critiques are a distinguishing feature of this production, I do not want to deter musical and opera lovers from attending. Unfortunately, A Little Night Music is a rare jewel of Sondheim’s career, and I wish more theatrical ventures would thrust a production on their stage. There are multiple standout performances in this, stemming from the principal roles. For comedic relief, look no further than the exceptional Riley Vagis as the Countess Charlotte Malcolm. Vagis portrays Charlotte’s comedic unhappiness with delectable satisfaction and clearly revels in the audience’s auditory reactions to some of her preposterous dialogue. Her theatrical husband, baritone Kellen Schrimper, combines the humor and pomp of his role with a stunning voice, further enhancing his stage presence. 

Leads Scott Clark as Frederik Egerman and Melanie Ashkar as Desirée Armfeldt do a tremendous amount of heavy lifting vocally. These two are the centerpieces of this musical, and I can’t wait for their careers to progress so they can become absolute masters of these powerhouse roles. These characters have been portrayed by some of the greatest actors of our age, Bernadette Peters as the last Desirée Armfeldt on Broadway, and Len Cariou as the original Frederick Egerman, who are still cemented in people’s brains through decades of listening to cast albums. Clark and Ashkar had uphill battles in these roles, and while there is room for improvement, it is encouraging to see young talent begin to excel in them. I can’t wait for a remount in 20+ years featuring this same troupe of performers, when they are finally old enough to portray this complex piece. 

Music director and conductor, Dr. Carolyn Watson, is a master of her craft. With an orchestra of six instrumentalists and an ensemble of singers, it is apparent that Dr. Watson knows how to juggle vocal and instrumental technicality. Sondheim’s work is not always the easiest to perform, but Dr. Watson leads with a confidence hard to find in the theatrical world. Houston has borne witness to many productions’ mishandling of the composer’s work. Still, now it is a treat in all its infinite glory to see A Little Night Music being executed in all its harmonious fortitude. 

Despite its shortcomings, Opera in the Heights’ A Little Night Music remains a worthwhile evening for those who appreciate the beauty of Sondheim’s work and the promise of rising local talent. The production may still be finding its footing, but its spirit, ambition, and musical richness shine through in moments of genuine charm and emotional resonance. For audiences willing to embrace a young company taking on a sophisticated classic, there is much to admire and even more to look forward to as these artists continue to grow.

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