The Light in the Piazza
Royal Festival Hall
Reviewed β 18th June 2019
β β β
βGuettelβs score is drenched in a lush, autumnal style, with orchestrations that are truly gorgeousβ
The Light in the Piazza lands in its London premiere with a level of prestige β it scooped up no less than six Tony Awards during its Broadway run in 2005. While the musical consequently carries with it an inherent air of quality, it also finds itself emblematic of the genre as a whole, as it glosses over and romanticises subject matter which deserves a little more nuance.
Based on the 1960 novel by Elizabeth Spencer (which was also released as a film two years later), The Light in the Piazza follows the journey of Margaret Johnson (RenΓ©e Fleming), whose developmentally disabled daughter Clara (Dove Cameron) falls in love while the pair are on holiday in Florence with Fabrizio Naccarelli (Rob Houchen). Margaret grapples with letting go of her child and allowing her to live independently with Fabrizio, although in doing so she never fully discloses the nature of Claraβs disability to the Naccarelli family; itβs a decision that comes with huge ethical implications and ramifications, albeit ones that the show seems quite happy to ignore.
Adam Guettelβs score is drenched in a lush, autumnal style, with orchestrations that are truly gorgeous, and Kimberly Grigsbyβs conducting makes the music feel like it fully lives and breathes with the characters and the story. Despite that the style starts to feel somewhat overfamiliar in the latter half the show, there are still a variety of hugely enjoyable numbers, such as Say It Somehow and Letβs Walk. Guettelβs lyrics and Craig Lucasβ libretto are full of quirks, wit, and humanity, but neither feel like they genuinely facilitate any true depth to the themes or characters. Despite this, there are some excellent performances on display in Piazza, particularly Fleming as Margaret, who keeps guilt and uncertainty bubbling underneath a frothy exterior, and Alex Jennings as Signor Naccarelli, whose charm and self-assuredness beautifully counterbalances the more melodramatic facets of the other characters. Every single member of the cast delivers immaculate vocals, and Robert Jonesβ scenic design and Mark Hendersonβs lighting harmoniously provide some stunning aesthetics. Piazza is undoubtedly a visual and aural treat.
However, the substance simply isnβt there to support it. Understanding and misunderstanding are prominent themes in Piazza β the Johnsons donβt speak great Italian and the Naccarellis donβt speak great English so their meanings arenβt always perfectly conveyed to each other, and some scenes and songs are entirely in Italian, so that the audience have to rely on the visual storytelling alone (which, thanks to Daniel Evansβ direction, is stellar). It suggests that the love between Clara and Fabrizio transcends barriers such as language or disability, but the fact that Fabrizio falls so swiftly for a woman with the mental and emotional capacities of a twelve-year-old draws allusions to the seedy over-sexualisation of young girls in society, and the fact that Fabrizio isnβt made aware of long-term effects that the disability will have on the relationship makes the romance feel unearned and untrue. And unfortunately, Piazza hinges itself on the romance.
Reviewed by Tom Francis
Photography by Dewynters
The Light in the Piazza
Royal Festival Hall until 5th July
Last ten shows covered by this reviewer:
The Bay At Nice | β β Β½ | Menier Chocolate Factory | March 2019
Waitress | β β β β | Adelphi Theatre | March 2019
Creditors | β β β β | Jermyn Street Theatre | April 2019
Miss Julie | β β β | Jermyn Street Theatre | April 2019
Mortgage | β β β | Tristan Bates Theatre | April 2019
Coral Browne: This F***Ing Lady! | β β | Kingβs Head Theatre | May 2019
Delicacy | β β β Β½ | The Space | May 2019
Orpheus Descending | β β β β | Menier Chocolate Factory | May 2019
Regen | β β β | Pleasance Theatre | May 2019
Afterglow | β β β Β½ | Southwark Playhouse | June 2019
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