A Review

Passionate Complexities

By R. J. Donovan

SpeakEasy Stage is kicking off its18th season with the lush musical "The Light In The Piazza."  With music and lyrics by Adam Guettel and a book by Craig Lucas, the musical is based on the Elizabeth Spencer novella of the same name.

Set in the summer of 1953, "Piazza" tells the story of an American mother and her twenty-something daughter vacationing in Italy.  

Margaret Johnson (Amelia Broome, at left), from North Carolina, has returned to Italy for the first time since her honeymoon.  With her prominent businessman-husband at home working, she is sharing the sites with her daughter, Clara, exposing the girl to the history and rich culture of Rome and Florence.

Clara is all sweet innocence. And when she meets a young Italian man who is instantly drawn to her, she falls for his dark good looks and endearing attempts to speak English. 

Clara, however, has a secret. And as a result, Margaret does her best to re-direct her daughter's attentions -- but to no avail. The fact is that Clara was injured as a child and is developmentally challenged.

Margaret's hyper-protection of her daughter and avoidance of telling anyone about the disability becomes a pivotal point in the plot. It's also the story's weak spot.  While this kind of "family matter" (quotes intentional) may have been the subject of hushed whispers in the fifties, it seems of minor consequence today in a world where everyone's private parts are splashed wide across the internet with the casual push of a Send button.

So for this one plot point, simply employ the willing suspension of disbelief to get past the fact that the reveal isn't bigger. Because by the end of the evening, a happy ending is within reach as Margaret re-considers Clara's future as well as her own.

The winner of six Tony Awards, "Light In The Piazza" opened at Lincoln Center in a sweeping production -- directed by Bartlett Sher -- that filled the massive Vivian Beaumont Theatre. (Sher is also responsible for the highly acclaimed production of "South Pacific" currently at the Center.)

The production at SpeakEasy has returned the show to its origins as an intimate chamber piece. It should also be noted that while Adam Guettel is the grandson of composer Richard Rodgers, he writes in a style that's far more opera than show tune. As a result, his score requires a cast with very specific talents.

Against a backwall of effectively used archways, the lovely set designed by Susan Zeeman Rogers is all pen and ink drawings, reminiscent of the sketches that Clara creates as she tours the city. Several flats paired at right angles cleverly roll and swing to suggest a multitude of locations.  As well, the entire stage floor represents a huge sketch pad with the in-progress image of an Italian skyline flowing across and up the right side of the stage wall.

All of this is complemented by Karen Perlow's artistic lighting and the impeccable fifties costuming by Chip Schoonmaker.

This production marks the SpeakEasy debut of everyone on stage.  Bravo to management for giving us some great new talents to enjoy. The company brings credits from the worlds of opera, Broadway and classical theater.

As Clara, Erica Spyres (photo above, with John Bambery) has a lovely softness tempered with the impatience of youth.  Playing Margaret is Amelia Broome, who brings a sophisticated singing voice to the role while lending a subtle touch to the comedic moments sprinkled throughout the plot. 

As Fabrizio Naccarelli, Clara's handsome beau, John Bambery (a senior at Boston Conservatory) has an affecting voice, whether in the passionate "Il Mondo Era Vuoto" or the moving "Love To Me," which he gently delivers with heart.

Fabrizio's parents are played by Joel Colodner and Carolynne Warren.  Colodner shares the duet "Let's Walk" with Broome, while Warren steals the show when her character, who only speaks Italian, suddenly turns to the audience and bursts into English to provide a comical re-cap of what's happening within her family. 

The conductor of this romantic symphony of characters is director Scott Edmiston, who once again demonstrates why he's considered one of Boston's most thoughtful talents. Directing is more than just steering people around a playing area.  It's about creating mood and atmosphere and artfully working with actors and designers to invent time and place. The production, and Edmiston, succeeds on all counts.

"The Light In The Piazza" is at Calderwood Pavilion at the Boston Center For The Arts, 527 Tremont Street, through October 18. For information, call 617-933-8600.

Production photos: Mike Lovett

-- OnStage Boston