Ipswich Musical Theatre Company’s production of 'A Little Night Music' is a stunning showcase of Stephen Sondheim’s complex musical brilliance. Performed at the intimate Old Courthouse in Ipswich from February 2nd to 15th, the production, with music and lyrics by Stephen Sondheim and book by Hugh Wheeler, is beautifully directed by Robert Shearer, with impeccable musical direction by Rhonda Davidson-Irwin. The result is a sumptuous evening of romance, intrigue, and musical mastery.
The house is completely sold out—and for good reason. This Tony Award-winning musical, set in 1900 Sweden, masterfully weaves a tangled web of love and infidelity, centred around the alluring actress Desirée Armfeldt and the married men who vie for her affection: the conflicted Fredrik Egerman and the pompous Count Carl-Magnus Malcolm. With its witty exploration of human folly, Sondheim’s creation continues to feel fresh more than 50 years after its Broadway debut.
From the outset, the small staging area of the Old Courthouse presents challenges, but the creative team has utilised the space well, even if some blocking feels a touch awkward. The set and props convincingly evoke the era, complemented by standout period-accurate costumes and wigs by Delma Odger. Seeing the 6-piece orchestra up front and centre adds to the charm without detracting from the performance. Speaking of the orchestra, the music direction is truly spectacular. Sondheim's complex score is notoriously difficult, yet this ensemble of talented string musicians and pianist Ethan Coleman performs it beautifully, with conductor Rhonda Davidson-Irwin occasionally picking up her flute to join them.
The Liebeslieder Singers are a highlight, embodying their roles with operatic elegance and providing a harmonious thread throughout the show. Particular standouts include David Hibbard and Anita Parakh-Morgan, whose voices shine in every number.
The main cast provides some truly memorable performances. Michael Brandon Lewis excels as the commanding yet oddly endearing Count Carl-Magnus Malcolm. His stern demeanour, magnetic presence, and polished vocals are wonderful to witness. Opposite him, Kellie Wilson as Countess Charlotte Malcolm captivates with her sharp wit and strong delivery. Her depiction of a woman fully aware of her husband's infidelities yet resolute in preserving her dignity is both poignant and amusing.
Mikayla Barratt as Anne Egerman, the young bride of Fredrik, is simply lovely. Her sweet, youthful voice and charming presence make Anne’s naivety endearing, though her faltering accent occasionally distracts. Bailey O'Mara brings passionate energy to Henrik Egerman, the tormented young man grappling with unrequited love and existential angst. His moments of rage are compelling and powerful.
Michael Lawrence embodies Fredrik Egerman with the right mix of gravitas and sensitivity. His renditions of the solo “Now” and the duet “You Must Meet My Wife” alongside Fiona Kennedy as Desirée are handled deftly, thanks in part to the music director's noticeable guidance (understandable given the complexity of the score). However, it is his duet with the Count, “It Would Have Been Wonderful,” that truly stands out, echoing Sondheim’s other playful male duets like “Agony” from 'Into the Woods'.
Regan Flor delivers a remarkable performance as Madame Armfeldt, with her solo "Liaisons" being an exceptional success. Despite joining the cast late, she delivers a powerful and stoic performance, executing every line with deadpan brilliance. Elizabeth Masu portrays Petra with vibrancy and energy. Her solo “The Miller’s Son” is a showstopper in Act Two, delivered with all the nuanced shifts Sondheim demands. She beautifully captures Petra’s dreams and resigned acceptance of her probable future.
Bethanie Walsh captivates as Fredrika Armfeldt, Desirée's daughter, infusing the role with innocence, sweetness and poise. It's unfortunate that her character lacks more vocal opportunities, since I know Bethanie's voice is stunning. Fiona Kennedy as leading lady Desirée Armfeldt is captivating. She fully embodies the role with a perfect blend of drama, humour, and vulnerability. Her rendition of “Send in the Clowns” is heart-wrenching, sung with raw emotion and real tears in her eyes.
The group numbers are exceptional, particularly the Act One closing “A Weekend in the Country,” which feels like a scene straight out of Bridgerton but with music. The Act Two opener, "The Sun Won't Set," is aptly titled as the household continues with their duties, narrating the comedic chaos caused by all the ongoing affairs. They wish for the day to conclude, but since it's summer in Sweden, it just won't end. The lush harmonies and intricate melodies are executed with precision and grandeur. Another standout is “Every Day a Little Death,” a heartbreaking duet between Charlotte and Anne that perfectly captures the despair and disillusionment of their roles as wives.
The scene transitions appeared unrehearsed, and the stagehands seemed unsure about handling the multiple curtains. But I did attend their opening performance, so hopefully, these issues have been refined for a shorter run time since then. Nevertheless, 'A Little Night Music' is a triumph for Ipswich Musical Theatre Company. The cast adeptly handles Sondheim's complex lyrics and melodies, offering a memorable performance. The inclusion of proper tea at intermission adds a delightful touch, making the entire experience feel wonderfully refined.
This production is a testament to the enduring brilliance of Sondheim’s work and the immense talent of the Ipswich theatre community. If you’re lucky enough to snag a ticket, prepare for a performance filled with romance, wit, and exquisite music.
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