A BEAUTIFUL LIGHT

F. J. Hartland

Italy, 1953.  A young American woman travels with her mother to Florence—and falls in love with a handsome young man.  But before the final curtain falls, relationships are shattered or repaired and secrets revealed.

It’s the musical A Light in the Piazza, the current offering from the Pittsburgh Playhouse Conservatory Theatre Company.

Director Scott Wise lends his deft hand to create a lush and breath-takingly beautiful production.  A Light in the Piazza is a delight to both the eye and the ear.

He works with an energetic and amazingly talents cast of Point Park University students.  Some are  much too young to play these roles, but still turn in polished and completely believable performances.

Katie Sexton is nothing short of spectacular in the role of the mother Margaret Johnson.  She carries herself with such poise and presence and maturity that I was shocked to see that she is only a junior.  Never for a moment did I see a girl in her twenties—but always a mature Southern matron.

Handsome Jaron Frand plays Fabrizio Naccarelli, who falls in love-at-first sight with Margaret’s daughter Clara.  Frand’s character speaks little English—but thanks to his performance, the audience always understands what he is communicating.  (Special kudos to Frand, Adam Soniak and Andrew Swankhammer who play a lengthy scene in the men’s shop entirely in Italian—and make themselves understood to someone whose knowledge of Italian doesn’t extend beyond “si” and “ciao.”)

In the role of Clara, Courtney Bassett captures the complexities and range of her character.  I don’t want to give any of the plot away—but let’s just say that Bassett creates a fully drawn portrait of Clara with all her charms and flaws.

Sexton, Frand and Bassett (along with the rest of the cast) have powerful, spectacular voices that soar with Adam Guetell’s music.The supporting cast is very strong—as has always were the case with Point Park’s Conservatory productions.  There is not a weak link in this chain.

Michael Thomas Essaud’s set (along with lighting by Andrew Ostrowski and Christopher Stabell and projections by Jessi Sedon) is sheer poetry.  Scenes glide seamlessly along and the final effect is unforgettable.  (My only complaint was the wire used to make Clara’s hat blow off her head.  It was so obviously there—and so distracting—that it was a nuisance.  But this is a minute point in the overall effect of the spectacular visuals).

Director Wise fills this gorgeous space with an unending parade of nuns, clergy, tourists, prostitutes, soccer players, street thugs.  They are all costumed beautifully by Michael Montgomery, who really brings the style of 1950’s Italy to life (although one wishes some of the men’s tailoring was better).

Everyone involved really deserved a better script.  Craig Lucas’s script is so full of contrived circumstances, unbelievable resolutions and conflicts that seem to exist only to add length to the show.  A Light in the Piazza darts between musical comedy and operetta, never really finding its niche.

Adam Guettel’s songs are lovely—but you don’t leave the theatre humming any of them.

But all that being said, this is a top-notch production, filled with memorable performances and beautiful voices.

A Light in the Piazza continues through April 3.