LA Review: 'A Little Night Music'

Most Sondheim musicals are tricky to present, but none is quite as challenging as “A Little Night Music.” Based on Ingmar Bergman’s 1956 film “Smiles of a Summer Night”—set in Sweden at the turn of the 20th century, with several mismatched couples clumsily negotiating the skewed intricacies of romance—the show features a score composed entirely in three-quarter waltz time, with complex meters, pitch changes, and high notes both male and female performers must ace.

One decision director Tim Dang made plagues this production: attempting an all-acoustic version without amplification. Were this performed in East West’s original 99-seat location, it wouldn’t be a problem, but this is the cavernous 240-seat David Henry Hwang Theater, a renovated church with a ceiling so high there could be a second floor. The vocals are swallowed up in the rafters as musical director Caroline Su’s piano accompaniment overpowers the singers, and the clever words of Hugh Wheeler’s Tony-winning book also get lost even without musicians to help things along. The sound is not the only issue here; the diction of almost everyone onstage is abysmal.

Dang’s staging is singular, with characters lurking behind trees just outside the main action, and many of his performers are extremely talented. Some, however, are more proficient vocalists; some, better actors—and not often the twain shall meet here. Still, there are standouts. The gloriously gifted Melody Butiu, one of Los Angeles’ most arresting musical theater mainstays, will be a perfect Desiree in about 15 years. Every frequent reference to the diva’s lengthy world-wearying career and love life falls flat, as Butiu in no way looks the age of the character or yet has the vocal depth or earthbound movements of someone who’s been around as long as Desiree has.

Glenn Fernandez is charming as the woebegone Henrik until his lovely, sweet, but diminutive coloratura fades into the scenery. Two performances, however, prove the singers can be heard. Sixth-grader Sascha Tominaga makes an auspicious East West debut as Desiree’s hilariously solemn daughter Fredrika, and Maegan McConnell brightens the proceedings considerably whenever she enters the scene as the lusty servant Petra. McConnell’s solo, “The Miller’s Son,” is the highlight of the musical numbers.

Dang’s baffling choices continue with Adam Flemming’s massive bamboo tree–dominated set, so deep and dense the action must be crowded at the front of the stage—perhaps to accommodate the lack of amplification. The oddly inappropriate jungle foliage not only hides Flemming’s video projections and totally obscures the musicians but also makes the story even more of a puzzle. This premier Asian-American company is to be applauded for choosing material not written or often performed by Asians, but aside from an ingenious segment in which touring stage star Desiree and chorus members perform in geisha outfits with fans stroked in a less-than-traditional manner, these angst-ridden characters named Lindquist, Anderssen, and Egerman are still costumed in 1900 European finery and Fredrika is still warned not to marry a Scandinavian. Considering the set looks as though it were lifted from a touring production of “South Pacific,” in this case East West’s usually effectual colorblind casting is more of a distraction than a successful creative choice.

Presented by East West Players at the David Henry Hwang Theater, 120 Judge John Aiso St., L.A. May 16–June 10. Wed.–Sat., 8 p.m.; Sun., 2 p.m. (213) 625-7000 or www.eastwestplayers.org.