Marriott Theatre's A Little Night Music Waltzes into the Heart
Actors shine in Stephen Sondheim's Most Elegant Work
There are musicals that entertain, and then there are musicals that linger long after the last scene. Stephen Sondheim's A Little Night Music belongs firmly in the second category, and Marriott Theatre's elegant new production reminds us why this sophisticated masterpiece remains one of the composer's most rewarding works.
Under the graceful direction of Nick Bowling, Marriott transforms its intimate in-the-round stage into turn-of-the-century Sweden, where love, longing, jealousy, and second chances swirl together as gracefully as the show's signature waltzes.
Inspired by Ingmar Bergman's Smiles of a Summer Night, the musical explores the complicated romantic entanglements of lovers young and old with wit, intelligence, and emotional depth. The result is an evening that's both delightfully funny and quietly heartbreaking.
Leading the stellar cast is Alexandra Silber as the glamorous actress Desirée Armfeldt. Silber brings elegance, vulnerability, and effortless sophistication to a woman who has spent years chasing success only to discover that the greatest role of her life may have slipped away. The audience will likely remember her as Marian in the Marriott’s production of “The Music Man.” Her interpretation of "Send in the Clowns" allows the bittersweet lyrics to emerge from a lifetime of regrets. It's a deeply moving performance that anchors the entire production.
Andrew Samonsky is equally compelling as attorney Fredrik Egerman, whose comfortable life is anything but. His rich baritone beautifully captures a man torn between youthful passion and mature responsibility. Together, Silber and Samonsky create a chemistry that feels authentic, making their long-delayed reunion all the more poignant.
The supporting cast is equally impressive. Veronica Garza nearly steals the evening as the witty Countess Charlotte Malcolm, delivering razor-sharp comic timing while revealing the sadness beneath her polished exterior. Her duet, "Every Day a Little Death," with Addie Morales' sweetly innocent Anne is one of the musical's best performances.
Madison Uphoff injects refreshing vitality into Petra, the worldly maid who understands love perhaps better than anyone else on stage. Her energetic performance of "The Miller's Son" provides the perfect exhilarating finale, celebrating life's fleeting pleasures. Meanwhile, Alan H. Green offers plenty of laughs as the pompous Count Carl-Magnus Malcolm, whose oversized ego becomes one of the show's most entertaining running jokes.Sondheim's magnificent score remains the evening's greatest star. Music Director Ryan T. Nelson draws gorgeous performances from both the orchestra and the ensemble, particularly during the breathtaking "A Weekend in the Country," which becomes a thrilling musical centerpiece as the various love triangles begin their inevitable collision.
Visually, the production is gorgeous. Regina Garcia's scenic design makes inventive use of Marriott's theater-in-the-round configuration, allowing scenes to flow seamlessly from one elegant setting to another. Sally Dolembo's costumes are stunning, capturing the romance and refinement of 1900 Sweden with flowing gowns, tailored uniforms, and luxurious fabrics.
What makes Marriott's production particularly successful is its trust in Sondheim's depth. Rather than pushing for farcical comedy, Bowling allows the humor to emerge organically from Hugh Wheeler's witty book and the characters' all-too-human imperfections.
Whether you're a lifelong Sondheim devotee or discovering this remarkable musical for the first time, Marriott Theatre offers a production worthy of the composer's legacy. Like a perfect summer evening, it is romantic, funny, wistful, and unforgettable.
