A Little Night Music

Upon entering the Everest, a piano is positioned conveniently onstage, whilst a frayed tree branch is suspended from above. This is one of the first factors that make the MUSE major production, A Little Night Music, both impressive and intriguing.

Set in Sweden in the early 1900s, at the house of Frederik Egerman, the musical deals both explicitly and subtly with sexual frustration at many levels. It is a time of frivolity, awakenings and freedom. The openness and promiscuity of the piece is tasteful, and all performers use the themes artistically. Alexander Andrews’ direction is slick. Transitions between scenes are very well utilised, with the ensemble of maids and butlers taking on various set pieces for the characters. It blends well, and the pacing of the piece remains consistent and tidy.

As Frederik Egerman, Stuart Bryan nails the fatherly demeanour of the character. He is charming, sensual and sincere. Although musically Bryan took some time to find the character earlier on in the piece (entirely due to the microphone system at the Seymour Centre), he eased into the role as the piece progressed. Owen Elsley plays Henrik, Frederik’s son, about to become a priest, who has urges. Elsley is vocally powerful and physically comedic, with his attempted suicide being surprisingly funny. Rounding out the ‘family’ is Bronwyn Hicks as Anne, Frederik’s much younger  virgin wife. She has been cast well, and is remarkably childish and animated in the role.

In a role coveted by divas and performers alike, Louise Flynn plays Desiree Armfeldt. Flynn is a perfect example that someone younger can play a character well beyond her years. Her maturity, dignity, timing and vocals make her performance multi-layered, with her rendition of Send in the Clowns being a production standout. Emma Elsley’s Fredrika is naive and bubbly, and is a perfect match to the very dour and pessimistic Madame Armfeldt, played by Sarah Gaul. Although Gaul runs the risk of caricaturing the archetype of an ‘elderly dame’, she performs the role for real, and the many rounds of applause that follow her classic one-liners make her a total audience favourite.

As the Count and Countess, Harry Flitcroft and Christie New work well together. New is particularly refined and witty, her presence being notable and excellently crafted. Flitcroft plays the Count well, and doesn’t go too over the top.

Brittany Doyle’s choreography is elegant and steady, each performer changing partners without fuss.

The Liebeslieder, the greek-chorus that echo the thoughts of many on stage, are vocally profound. Costumed well, each has their own sense of stage craft and panache. Special mention to Clare Richards, a total standout amongst the five.

Jordan Stam and Gen De Souza are particularly engaging members of the ensemble, with great levels of energy. Unfortunately, some members of the ensemble lacked projection when delivering smaller lines of dialogue.

Conrad Hamill’s large orchestra is of a professional standard. They never miss a beat, and match well with the performance. The orchestra provide a classical and pure sound.

A top-notch lighting design rounded out this classy production. The different times of the day were evenly distinguished, and gave the production a level of sophistication that is rarely seen in student theatre.

Jordan Shea

Photographer: Wenray Wang