A Little Night Music - Critical Response

Critical Response

In his review of the original 1973 Broadway production, Clive Barnes in the New York Times called the musical "heady, civilized, sophisticated and enchanting." He noted that "the real triumph belongs to Stephen Sondheim...the music is a celebration of 3/4 time, an orgy of plaintively memorable waltzes, all talking of past loves and lost worlds...There is a peasant touch here." He commented that the lyrics are "breathtaking".

In its review of the 1989 London revival, the reviewer for The Guardian wrote that the "production also strikes me as infinitely superior to Harold Prince's 1975 version at the Adelphi. Mr Judge's great innovation is to transform the Liebeslieder Singers from the evening-dressed, after-dinner line-up into 18th century ghosts weaving in and out of the action...But Mr Judge's other great realisation is that, in Sondheim, the lyrics are not an adornment to a song but their very essence: understand them and the show will flow. Thus Dorothy Tutin as Desiree, the touring thesp eventually reunited with her quondam lover, is not the melting romantic of previous productions but a working mother with the sharpness of a hat-pin."

The Independent review of the 1995 National Theatre revival praised the production, writing "For three hours of gloriously barbed bliss and bewitchment, Sean Mathias's production establishes the show as a minor miracle of astringent worldly wisdom and one that is haunted by less earthy intimations." The review went on to state that "The heart of the production, in both senses, is Judi Dench's superb Desiree Armfeldt...Her husky-voiced rendering of "Send in the Clowns" is the most moving I've ever heard."

In reviewing the 2008 Menier Chocolate Factory production, The Telegraph reviewer wrote that "Sondheim's lyrics are often superbly witty, his music here, mostly in haunting waltz-time, far more accessible than is sometimes the case. The score positively throbs with love, regret and desire." But of the specific production, the reviewer went on to note: "But Nunn's production, on one of those hermetic sets largely consisting of doors and tarnished mirrors that have become such a cliché in recent years, never penetrates the work's subtly erotic heart. And as is often the case with this director's work, the pace is so slow and the mood so reverent, that initial enchantment gives way to bored fidgeting."

In his New York Times review of the 2009 Broadway production, Ben Brantley noted that "the expression that hovers over Trevor Nunn's revival...feels dangerously close to a smirk...It is a smirk shrouded in shadows. An elegiac darkness infuses this production." The production is "sparing on furniture and heavy on shadows", with "a scaled-down orchestra at lugubriously slowed-down tempos..." He goes on to write that "this somber, less-is-more approach could be effective were the ensemble plugged into the same rueful sensibility. But there is only one moment in this production when all its elements cohere perfectly. That moment, halfway through the first act, belongs to Ms. Lansbury, who has hitherto been perfectly entertaining, playing Madame Armfeldt with the overripe aristocratic condescension of a Lady Bracknell. Then comes her one solo, "Liaisons", in which her character thinks back on the art of love as a profession in a gilded age, when sex 'was but a pleasurable means to a measurable end.' Her face, with its glamour-gorgon makeup, softens, as Madame Armfeldt seems to melt into memory itself, and the wan stage light briefly appears to borrow radiance from her. It's a lovely example of the past reaching out to the present..."

Steven Suskin, reviewing the new Broadway cast for Variety, wrote "What a difference a diva makes. Bernadette Peters steps into the six-month-old revival of 'A Little Night Music' with a transfixing performance, playing it as if she realizes her character's onstage billing -- "the one and only Desiree Armfeldt" -- is cliched hyperbole. By figuratively rolling her eyes at the hype, Peters gives us a rich, warm and comedically human Desiree, which reaches full impact when she pierces the facade with a nakedly honest, tears-on-cheek 'Send in the Clowns.'"