In its most sumptuous production in seasons, Opera in the Heights presents the Tony-winning musical The Light in the Piazza (2005).
Composed by Adam Guettel (grandson of iconic Richard Rodgers), who also penned the lyrics, and with a literate book by notable playwright Craig Lucas (Prelude to a Kiss, Reckless, An American in Paris), the musical floods the theater in all manner of theater magic.
There’s magic in director Seamus Ricci’s cinematic staging, in the prodigious singing of its talented cast, in the autumnal lighting and minimal sets from Edgar Guajardo, in the dazzling atmospheric projections from Brittany Merenda, in the ’50s-inspired Balenciaga costumes from Shaun Heath and Mary Webber, and in the lush orchestral playing from a quintet of piano (Sarah Spencer), violin (Dominika Dancewicz), cello (Benjamin Stoehr), double bass (Stephen Martin), and harp (Emily Klein) – it’s the harp that seems to be the sonic heart of this show. But the rock at the center of this production must be musical director Stephen W. Jones, who elicits all the emotion and truth out of Guettel’s rather spiky score and adds an operatic sweep to the work.
Guettel’s music isn’t easy. It’s certainly influenced by Stephen Sondheim in its jagged rhythms and ultra-sophisticated lyricism, but there’s a more-modern chromatic overlay that distinguishes this score from your average Broadway sound. That doesn’t, however, make it sound any better. When the entire cast cries out in “Aiutami” (Help Me), the roof of Lambert Hall rises a foot. But it’s young Fabrizio’s last song, “Love to Me,” that truly hits us in the heart. It’s the most old-fashioned of any of Guettel’s tunes, full of swelling melody and pleasing chord progressions that cry out, Love Song. It’s a beauty of a song, perhaps a classic, and since it comes at the very close of the show, it lifts us like none other does.
The entire musical is literary and adult, adapted from the 1960 book from Elizabeth Spencer, which would soon be adapted for the screen in 1962 starring Olivia de Havilland, Yvette Mimieux, George Hamilton and Rossano Brazzi.
Unhappily married Margaret Johnson (plummy mezzo Christina Pezzarossi) from Winston Salem, North Carolina, accompanied with young daughter Clara (heavenly soprano Catherine Goode), visits Florence, Italy, to relive her honeymoon reveries in hopes to revive her failing marriage. When Clara’s hat blows off – in a delightfully surprising meld of projection and live action – she meets Fabrizio (ardent tenor Benjamin Lurye), and the couple are instantly smitten.
Margaret will have none of this and unsuccessfully attempts to keep her away from this ingratiating Italian and his family: Papa (sweet tenor Alejandro Magallón), Mama (passionate mezzo Megan Berti), brother Giuseppe (robust baritone Scott Clark), and his jealous wife Franca (fiery soprano Lisa Borik Vickers). Clara rebels as best she can against her formidable mother, who harbors a family secret about her daughter, who seems much younger then she is. Over-protective tiger mom grates against Clara’s growing personal awareness, need for love, and her bursting to be free.
Within Guettel’s sprawling arias, both families are neatly delineated. The Italian Naccarellis sing untranslated – a lovely effect that sets the Americans (and us) apart from them – but we know exactly what they’re saying – we’ve seen Fellini movies before. And he gives Margaret and Clara spiraling melodies that break apart and coalesce as their inner turmoil overtakes them, or the beauty of the Italian art overwhelms them.
The problem with this show is that OH has only programmed three performances. Two remain.
For Broadway babies, The Light in the Piazza is a cult hit, a one-off. Houston last saw it during Main Street Theater’s regional premiere in 2009. It deserves to be seen, and attention must be paid. Love conquers all.
The Light in the Piazza continues at 7:30 p.m. Saturday, February 17 and 2 p.m. Sunday, February 18 at Lambert Hall, 1703 Heights Boulevard. For more information, call 713-861-5303 or visit operaintheheights.org. $29-$85.
D. L. Groover
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