The Light in the Piazza - The Ziegfeld Theater

The Light in the Piazza is composer/lyricist Adam Guettel's award-winning musical about young love blossoming in the romantic city of Florence, Italy. Throughout the work, we discover the challenges a young couple faces from inside and outside their new relationship. They are able to accept the difficulties for a chance of love. Though the plot seems ordinary, it is far from it as it delves into some deep issues that may make some audiences uncomfortable: such as mental disorders in adults and failing marriages.

While Guettel's work has been praised by many, it seems like the source material would fit better as a play. The sensitive issues addressed never get their full explanation to see how the characters feel and think and react. They are over simplified. One yearns for a scene where a serious conversation takes place among the adults regarding Clara's condition and the intense emotional drama as the theory of accepting others versus the reality of these issues joining the family come into play is missing, and really what needs to be explored. These issues further explored can turn this from an interesting work, to a monumental and important work of theater. There is no denying Guettel's score is marvelous though. The music flows through the show like a love letter or a river, weaving in and out, creating mood and complexities that suggest there is more in the drama than meets the eye.

The Ziegfeld Theater is a fairly new community theater in Utah's scene. What used to be an old movie theater now houses some ambitious productions from a talented team of well-seasoned thespians. Most notable in this production, was the excellent chamber ensemble providing their "pit orchestra." Always in plain sight up on the stage in the corner, they played with precision and accuracy Guettel's difficult neoromantic score.

The difficult score proved a bit more challenging for the vocalists, as it is very exposed and they have the call to act as well as sing. They handled it deftly with few errors, though the score may have been a little harder than their generic skill levels. Rachel Shull, playing Margaret Johnson, was strong in her role, providing a motherly figure, who is complex in her relationship with others and always on guard. Her performance was the strongest. Following her was Caleb Parry as Signor Naccarelli. As he switched between his Italian and English it was seamless and convincing. Heidi Hunt as Franca Naccarelli proved to have some real vocal and dramatic skills as performed with passion and conviction. These three were not only the best actors on stage, but had the strongest voices, able to sing with volume, and especially with clarity and emotion that comes from training and dedication.

The two lovers, Clara and Fabrizio (Lindsea Garside and Scott Stuart, respecitvely) performed adequately and what they lacked in acting and chemistry they made up for somewhat in their vocal skills, above that what is often heard on the community theater stage.

At first, the set seemed simple, pure, yet clear. On a shoe-string budget, the design was excellent and effective. Four pillars, rearranged depending on the scene, provided the bulk of the set. Unfortunately the idea was overused and too many set changes occurring too frequently made the extras look like they were dancing with pillars as they rushed them about the stage. This was a distracting and unnecessary mistake from a set that was otherwise very clever and effective.

Well-deserved praise goes to piano/conductor Rick Rea for his well-prepared chamber ensemble. They never skipped a beat (though this reviewer would have enjoyed more expressive playing from the ensemble). It is clear he has exceptional skill and prepared the music to highest professional standard. All-around, the production was ambition and rewarding. All involved created an experience that wrenches the heart and impressed what beauty really is. The beauty of community, of love, of flaws, of family and acceptance.