“The Light in the Piazza”. Book by Craig Lucas. Music and Lyrics by Adam Guettel. Based on the Novel by Elizabeth Spencer. Directed by Loretta Greco. Presented by The Huntington, 264 Huntington Avenue, Boston, through June 15.
by Michele Markarian
“I think it is my favorite place on earth,” declares Margaret Johnson (Emily Skinner), gazing around a piazza in Florence with her daughter, Clara (Sarah-Anne Martinez). Margaret and Clara are in Florence so that Margaret can show Clara the highlights of her honeymoon, many years ago, that she took with Clara’s father, Roy Johnson (Rob Richardson). I assumed Roy was dead, but no, he is at home, cocktail in hand, taking care of business to afford the girls their trip. It is here in the piazza that Clara meets Fabrizio (Joshua Grosso), who is immediately, hopelessly stricken with love. Margaret does not approve, for two reasons – one, a childhood accident with a horse has left Clara with the mental capacity of a twelve-year-old, and two, she enjoys the dependency that Clara has on her. Fabrizio persists, and Margaret and Clara meet his formidable yet welcoming family – his father, Signor Naccarelli (William Michals), mom Signora Naccarelli (Rebecca Pitcher), brother Giuseppe (Alexander Ross) and Giuseppe’s wife, Franca (Rebekah Rae Robles). Fabrizio proposes marriage, Clara accepts, and Margaret escapes with her to Rome in the night. Will love win out?
Despite The Light in the Piazza being an unabashed love story, it’s a surprisingly cynical show. Signor Naccarelli is cheating on his wife, Giuseppe is cheating on Franca, and Margaret and Roy don’t love each other. “Love’s a fake/Love’s a fable,” sings Margaret, so what’s the point? Make hay while the sun shines? Strike when the iron’s hot? If you find passion, run with it, consequences be damned? Thankfully, there’s a language barrier between Clara and Fabrizio, so their connection needn’t be intellectual. Luckily enough, she’s a very pretty girl. Given the fact that she’s mentally twelve, she’ll hopefully maintain a childish mien.
The production, beautifully directed by Greco, is glorious. Andrew Boyce’s sets are breathtaking and well served by Christopher Akerlind’s lighting design. Alex Jaeger’s costumes are in keeping with the time period, 1953 Italy. The lush score is operatic, and the cast rises to the occasion, thrillingly. Grosso has a gorgeous voice; his rendition of “Il Mondo Era Vuoto” is a standout. Robles, as the unhappy Franca, does a wonderful job with “The Joy You Feel”, and Martinez’s magnificent soprano is well served, particularly with The Light in the Piazza. The acting is wonderful, with cast members occasionally breaking the fourth wall, which works. The drama is operatic as well, with Fabrizio wishing to die after he fears he has lost Clara, and Clara going into a rage when Franca moves in on Fabrizio. Yet the real drama belongs to Margaret, as she is the one who changes at the end. Skinner conveys Margaret’s dilemma skillfully and sympathetically.
I don’t know if I ever need to see “The Light in the Piazza” again, as something tells me that this production has taken it to the height of its potential. On that note, you should go. Art doesn’t have to be smart in order to be beautiful. For tickets and information, go to: https://www.huntingtontheatre.org/whats-on/the-light-in-the-piazza/
