A LittLe Night music - Center Stage

Next Stage Resource Guide
A LittLe
Night music
Music & Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Directed by Mark Lamos
March 13–April 13, 2008
The Pearlstone Theater

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Editor Shannon M. Davis
ContEntS
Setting the Stage 3
Cast/Musicians 4
Musical numbers 5
Operetta: a Window into the Past 7
Variations in X Time 8
a Swedish Salon,
or the Stockholm Syndrome 10
Dreams of a Summer night 12
Bibliography 14
the Next Stage Resource Guide
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A LittLe Night music
Music & Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Mark Lamos Director
Wayne Barker Music Director/Arranger
Chase Brock Choreographer
Riccardo Hernández Scenic Designer
Candice Donnelly Costume Designer
Robert Wierzel Lighting Designer
Scott Stauffer Sound Designer
Gavin Witt Production Dramaturg
Janet Foster Casting Director
Ian Belknap Assistant Director
Ashley Eichbauer Assistant Choreographer
Barbara Irvine Rehearsal Pianist
Robb Hunter Fight Director
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Set ting the Stage
A LittLe Night music
by Shannon M. Davis, new Media Manager
Characters:
Fredrik Egerman: Dignified, middle-aged lawyer
Anne Egerman: Fredrik’s 18-year-old bride
Henrik Egerman: Fredrik’s 19-year-old son
Petra: Anne’s maid
Désirée Armfeldt: Famous actress; Fredrik’s former mistress;
currently involved with Count Carl-Magnus Malcolm
Madame Armfeldt: Désirée’s mother, at whose country estate the second act takes place
Fredrika Armfeldt: Désirée’s teenage daughter
Frid: Madame Armfeldt’s footman
Count Carl-Magnus Malcolm: Pompous dragoon
Countess Charlotte Malcolm: Carl-Magnus’ wife; Anne’s childhood friend
the Liebeslieder Singers: Chorus
Confusion of the heart. Quotable moments.
Mischievous servants. A contrived weekend in the country.
Sounds like one of Shakespeare’s comedies, doesn’t it? It’s A Midsummer Night’s Dream Scandinavian-style:
Stephen Sondheim and Hugh Wheeler’s beloved Tony-winning operetta, A Little Night Music. Expectations are
questioned and second chances offered as various couples navigate the tricky choreography of relationships
against the backdrop of turn-of-the-century Sweden. As mismatched lovers finally waltz into their proper
mates’ arms (and beds), Sondheim’s lush score and classic melodies illuminate the stage like the sun that
never quite sets during the magical Nordic summer.
Dignified lawyer Fredrik Egerman has waited eleven long months for his young bride Anne to warm up to
him; is it any wonder that he ends up in the dressing room of his former mistress, actress Désirée Armfeldt?
However, their rendezvous is interrupted by another suitor, Count Carl-Magnus Malcolm—a pompous military
peacock who plans to spend nine hours of his 20-hour leave with Désirée and the following five with his wife,
Charlotte. Charlotte, for her part, has a few tricks of her own. Her husband may be a clumsy philanderer, but
he’s hers, and she vows to get him back.
Paying a surprise visit to her childhood friend, none other than Anne Egerman, Charlotte proposes a plan to
retrieve their spouses from Désirée’s perfumed clutches during a weekend at the latter’s country house. All
the while, Désirée’s aristocratic mother, Madame Armfeldt, dispenses wry romantic advice, as Fredrik’s son
Henrik nurses a desperate crush on his young stepmother and servants Frid and Petra actually get around to
doing what everyone else can’t seem to manage. In true Shakespeare—and Sondheim—style, affairs of the
heart are never simple. ❖
Next Stage: A Little Night Music |

the CAst
(in order of appearance)
Liebeslieder Quintet
Whit Baldwin* Mr. Lindquist
Jacque Carnahan* Mrs. Anderssen
Amy Justman* Mrs. Nordstrom
Alison Mahoney* Mrs. Segstrom
Joe Paparella* Mr. Erlanson
Polly Bergen* Madame Armfeldt
Mattie Hawkinson* Fredrika Armfeldt
Jonathan C. Kaplan* Frid
Julia osborne* Anne Egerman
Josh young* Henrik Egerman
Stephen Bogardus* Fredrik Egerman
Sarah uriarte Berry* Petra
Barbara Walsh* Désirée Armfeldt
Maxwell Caulfield* Count Carl-Magnus Malcolm
Kate Baldwin* Countess Charlotte Malcolm
Craig A. Horness* Stage Manager
Keri Schultz* Assistant Stage Manager
*Member of Actors’ Equity Association
the musiCiANs
Wayne Barker Piano/Celeste
Celeste Blasé Violin
Keith Daudelin Woodwind
James Gollmer Horn
Chris Hofer Bass
Lee Lachman Woodwind
Julia Martin Harp
Kirsten Walsh Cello
There will be one 15-minute intermission.
Next Stage: A Little Night Music |

Musical Numbers
Act one
Overture
Liebeslieders ■
Night Waltz
Company ■
Now
Fredrik ■
Later
Henrik ■
Soon
Anne ■
The Glamorous Life
Fredrika, Désirée, Liebeslieders,
Madame Armfeldt ■
Remember
Liebeslieders ■
You Must Meet My Wife
Fredrik, Désirée ■
Liaisons
Madame Armfeldt ■
In Praise of Women
Carl-Magnus ■
Every Day a Little Death
Charlotte, Anne ■
A Weekend in the Country
Petra, Anne, Fredrik, Charlotte,
Carl-Magnus, Liebeslieders ■
Act tWo
Entr’acte
■ Orchestra
Night Waltz
■ Liebeslieders
Night Waltz II/The Sun Goes Down
■ Liebeslieders
It Would Have Been Wonderful
■ Fredrik, Carl-Magnus
Perpetual Anticipation
■ Mrs. Nordstrom, Mrs. Segstrom,
Mrs. Anderssen
Send in the Clowns
■ Désirée
The Miller’s Son
■ Petra
Reprises
■ Liebeslieders
Reprise: Send in the Clowns
■ Fredrik, Désirée
Last Waltz
■ Company
Next Stage: A Little Night Music |

Next Stage: A Little Night Music |

Operetta:
A Window into the Past
by Lauren Pierce, Dramaturgy Apprentice
he year is 1870; the place, Europe—where
opera, once the pinnacle of entertainment and
spectacle, has begun to wane in both popularity
and importance. Perhaps tiring of all the pomp
and tragedy, the rising urban middle classes seem
ready for something new—something to lighten,
brighten, and bring variety to the daily monotony
of the Industrial Revolution. A musical counterpart
to the boulevard farces beginning to fill city
theaters. And so, many composers, most famously
Johann Strauss in Vienna and Jacques Offenbach
in Paris, looked to comic operas of old to create a
new form that came to be known as the operetta.
If grand operas were the equivalent of Oscarworthy
epics, operettas were essentially the
half-hour sitcoms of their day. Their storylines
were often frivolous and sentimental, following
predictable patterns with familiar characters, set
to light, pleasant music (usually in waltz time).
The typical operetta plot went something like
this: boy meets girl, boy and girl fall in love, boy
and girl are kept apart by some outside force, boy
and girl have a terrible misunderstanding, and
finally boy and girl reconcile and join in marriage.
In some instances, there might be a bittersweet
quality to the final reunion, whereas most
brought their lovers together amidst a large and
joyous celebration. Unlike through-sung operas,
operetta combined scenes of spoken dialogue
with songs closer to the popular parlor songs
of the day than to the arias of grand opera.
In addition to being comic celebrations of the
pleasures and follies of romance, they were
generally shorter and far less spectacular than
operas. They featured smaller orchestras playing
much brighter, happier music to match the
romantic subject matter and more-frequent
dance interludes—often waltzes—with little
direct connection to the plot.
By far the most influential and well-known
composer of operetta was the Austrian-born
Johann Strauss, Jr. (1825–1899). His most popular
work was Die Fledermaus, created in 1874, which
became the most-performed operetta in the
world and still remains Strauss’ most popular
stage work. Closely rivaling Fledermaus in
popularity was The Merry Widow, a quintessential
operetta by Austro-Hungarian composer Franz
Lehar. In it, the titular witty, and wealthy, widow
must navigate a plot by her native land—the tiny
principality of Pontevedro—to marry her off to
suave, handsome Count Danilo; while she and the
Count waltz around the issue, they are enmeshed
in secret trysts, glamorous parties, and comic
misunderstandings. The same spirit pervades the
celebrated Savoy operettas of those enduring
godfathers of musical comedy, Gilbert and
Sullivan, without whom contemporary musical
theater would be very different indeed.
In the early days of Broadway, operettas and
musicals co-existed side by side, each influencing
the other. Today, operettas tend to be viewed
as rather dated windows into a time gone by;
however, many current composers, from Stephen
Sondheim to Adam Guettel, have taken the
basic form of the operetta and infused it with
contemporary influences in subject, tone, and
music. Sondheim in particular has leaned heavily
on the world of operetta in creating some of his
most famous musicals, such as Sweeney Todd,
Passion, and of course A Little Night Music. ❖
Next Stage: A Little Night Music |

n adapting A Little Night
Music from Ingmar
Bergman’s 1959 film,
Smiles of a Summer
Night, Sondheim fit the
material to the manner:
he retained the virtually
comic operetta setting
and circumstances,
which he translated into
a suitably theatrical form. However, as is typical
of this ever-inventive-and-evolving composer,
Sondheim took the form of his source, opened it
up, altered it, and created something that pays
homage to the old while moving into new domains
structurally, musically, and psychologically.
As in many an operetta, A Little Night Music
begins with lovers apart. Here, though, they are
not merely physically separated, but in variously
mismatched relationships that seem destined to
fail. Romantic assignations and intrigue quickly
pervade the atmosphere, but more than adultery
and duels stand in the way of satisfaction. Almost
from the opening notes, we are introduced to
the idea of deep disharmonies among characters
who cannot coexist between “Now,” “Later,” and
“Soon.” Sondheim creates a world off-kilter, not
merely in the typical, lushly romantic sense of
VARiAtions in
3/4 time
by Lauren Pierce,
Dramaturgy apprentice
light opera, but in a more uneasy separation of
characters from reality, their own or others’. Rather
than a musical romp to see how many—and
for how long—external obstacles can keep the
lovers apart, Sondheim’s operetta leaves room to
explore loneliness, aging, suicidal self-loathing,
and the disappointments of missed opportunity.
Choices have consequences, and relationships
sting as often as they soothe. In keeping with the
source material in Bergman’s film, the naïveté of
the traditional operetta is gone, and deep inner
tensions pervade the piece both musically and
lyrically.
Some of that musical tension comes from the
underlying heartbeat of the score. True to the
world of 19 th -century operetta and its foremost
practitioner, Johann Strauss, Sondheim gives his
entire musical a waltz beat. Could anything be
more suffused with sophisticated glamour than
the waltz? Maybe not; but while it evokes the
world of the Belle Époque, the waltz—like Jazz
and Rock since—was once shockingly risqué, so
suggestive that it was considered indecent. With
its initial rise to popularity in the early 19 th Century,
the social and religious leaders of the time actually
regarded the waltz as vulgar and sinful, with its
entwined arms and whirling bodies held close.
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In July of 1816, the waltz was included in a ball given in
London by the Prince Regent; a blistering editorial a few
days later thundered:
We remarked with pain that the indecent foreign dance
called the Waltz was introduced (we believe for the
first time) at the English court on Friday last.... it is
quite sufficient to cast one’s eyes on the voluptuous
intertwining of the limbs and close compressure on
the bodies in their dance, to see that it is indeed far
removed from the modest reserve which has hitherto
been considered distinctive of English females. So long
as this obscene display was confined to prostitutes and
adulteresses, we did not think it deserving of notice; but
now that it is attempted to be forced on the respectable
classes of society by the civil examples of their superiors,
we feel it a duty to warn every parent against exposing
his daughter to so fatal a contagion.
With this backdrop, and a penchant for pushing
boundaries, it is no surprise that Sondheim should
decide to infuse his entire musical with a constant
pulse of time. A literal pulse, in that it mimics
the beat of the heart. Whether through actual
waltzes or variations on the theme, a constant
1-2-3 throbs through the entire piece—at
moments quickening, then slowing as the
characters come together and then part ways, in this
slightly fractured ballroom of a musical, populated by
fractured people and couples hoping to reassemble.
In style and content both, Sondheim celebrates these
various elements but provides something more than
imitation. He stretches the form even while he honors
the tradition; he evokes the myth of Happily-Ever-After
without giving over to it. As he said of the piece, “I want
the whole show to have a perfumed quality, not just
to bubble like champagne. It is about sex, and I’ll
take care of the bubble, but I want some sense of
musk on the stage at all times.” So, many of his
waltzes are in minor keys, as characters struggle
to connect either with one another or with their
passions. The climactic “eleven o’clock number”
gives us Petra the maid singing of sexual dalliances
amidst a dizzying array of her social betters who can’t
decide what they want. Despite many difficulties, in this
rare instance, it seems that Happily-Ever-After is almost
possible; but there linger notes of discord and a feeling
that, even as these characters waltz off into the night,
a reality lurks that is less than sublime—a hard-won
sense of sweet sadness to balance the smiles. The long
midsummer night will end, the sun will set at last, and
time will march on. ❖
Next Stage: A Little Night Music |

A Swedish Salon, or the
S t O c k h O l M
S y N d r O M e
hundred years ago: From Stockholm to Rättvik,
Uppsala to Helsingborg, fin-de-siècle Sweden
is transforming rapidly. Industry and education draw
an ever-increasing working class to the cities from the
country; unions and socialist political parties campaign
for workers’ rights and universal male enfranchisement;
outspoken feminist activists fight for independence.
The strict social hierarchy of centuries past continues to
dissolve as the aristocracy surrenders privileges before
egalitarian, progressive advances.
The cultural expression of the time reflects this upheaval:
a cosmopolitan high European culture, influenced by the
fashions of decadent Vienna and glittering Paris, rubs
shoulders with a homegrown nationalist movement
intent on celebrating the values, folk traditions, and
beautiful, brooding landscape of their own Sweden. ❖
1
Talk of the Town
Turn-of-the-century cafés and newspapers are abuzz
with the controversial theories of Freud and Darwin,
the Tibetan travels of Swedish explorer Sven Hedin, the
1896 establishment of the Nobel Prize, the first modern
Olympics, and a bewildering whirlwind of advances
in science and technology. These include everything
from radio telegraphy to radioactivity, automobiles to
airplanes, the discovery of the electron to the spread of
electricity, and the introduction of x-rays, phonographs,
and motion-picture cameras. Meanwhile, in 1905,
Einstein formulates his Special Theory of Relativity,
and Norway votes to split from Sweden.
2
Woman of the World
Désirée Armfeldt, when not appearing in provincial
productions of frivolous, courtly French comedies, stars
in plays by Scandinavia’s leading dramatists—among
them Strindberg’s Miss Julie, and Ibsen’s Hedda Gabler
and A Doll’s House. These innovative plays shock
complacent crowds with their frank, even brutal
examination of the human price exacted by traditional
gender roles, class divides, and moral codes.
by Kathryn Van Winkle,
The Mike and Beth Falcone Dramaturgy Fellow
3
Lutherans and Lust
At seminary, Henrik Egerman trains to
“serve in God’s army” through exacting
study of the works of Martin Luther. His
adolescent gloom, and guilt over his
own body’s impulses, find no relief in
those strict Protestant precepts. If his
reading strays, he might encounter the
polemical anti-Christian philosophy of
Nietzsche or the theology of the Danish
Kierkegaard, who, while criticizing the
established Church, examines doubt as
an element of faith.
4
Portrait of a Period
The successful Fredrik Egermans and
sophisticated Madame Armfeldts
of the day adorn their walls with
the latest conversation pieces, free
to choose among cosmopolitan
Parisian Symbolists, eclectic Viennese
Secessionists, and Swedish painters
who embrace native traditions and
social reform through art.
Pictured: Gustaf Fjaestad’s The Boy
Who Sees with His Heart (1898); Richard
Bergh’s Nordic Summer Evening
(1899–1900); Gustav Klimt’s Medicine
(1900–07).
5
Home and Hearth
Newlywed Anne Egerman may
enjoy flipping through books of Carl
Larsson’s watercolors. The painter has
transformed his favorite models—his
wife Karin and their eight children—
into one of the best-loved families
in Sweden through art depicting the
joys and sorrows of domestic life.
The couple collects folk art, drawing
inspiration from peasant models in
designing their furniture and painting
their home. The watercolors stress
values of simplicity, authenticity, and
heritage, while reflecting Larsson’s
conviction that a pleasant atmosphere
produces happy, healthy people.
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1

4
2 3
5
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dreams
of a Summer Night
by gavin Witt, Production Dramaturg
The source that most directly informed A Little Night Music (aside from its winkingly Mozartderived
title) was Ingmar Bergman’s uncharacteristically comic film, Smiles of a Summer Night.
Bergman’s sprightly comedy of sexual manners itself has a distinguished lineage, inspired not
only by Shakespeare’s A Midsummer Night’s Dream, but also by such diverse antecedents as
the operas of Mozart; the mathematical seductions and intrigues in the plays of Marivaux; the
elaborate, sophisticated glamour of films by Ernst Lubitsch and Max Ophüls; and such bittersweet
confections as La Règle du jeu by Jean Renoir and Erotikon by pioneering Swedish director Mauritz
Stiller—a romantic drama whose heroine is married to a Professor, a “shining light in the field of
entomology,” who himself is so preoccupied by his studies of the polygamous nature of beetles
that he’s unaware of what his wife is up to, with a Baron and with a handsome sculptor. These
and a number of other inspirations trace a lineage made up of twin strands, two distinct but
related tropes that appear and reappear throughout plays and films from classical antiquity to
the present.
Next Stage: A Little Night Music | 12

he first of these is understandably ancient,
and draws its power from the astronomical
landmark of the summer solstice. Bergman
(and Sondheim) set his story during the
Swedish celebrations of Midsummer. The rites
of this festival, celebrating the power and
fertility of the longest day of the year, have
been celebrated since time immemorial. In
Scandinavia, the traditional pagan festivities have long remained
popular (and notoriously raucous), honoring a stretch in which the
sun never actually sets for days at a time. Midsummer’s Eve marks a
pause in the agricultural year and provides an occasion for disguise
and deception, the crossing of social boundaries, and rebellion against
moral stricture, much like Carnival in more southerly climes. What a
ripe and fitting subject for a play.
No wonder, then, that dramatists should be drawn to the subject and
the setting. The backdrop for Strindberg’s classic Miss Julie, for instance,
is a Swedish Midsummer’s Eve, which timing directly informs the lust
and license of its central action. It seems appropriate, even inevitable,
that Midsummer should be the setting for the liaison between the aloof
daughter of a Count and her father’s footman, an erotically charged
encounter that daringly breaches
class boundaries. The transformative,
sensual, and sometimes dangerous
potential of ritual festivities like
Midsummer sometimes spans the
calendar, and often inspires theatrical
mayhem. Similar disorder underlies
Euripides’ The Bacchae, or the witches’
Sabbath of Walpurgisnacht in Goethe’s
Faust. But perhaps the best-known
epitome of this trope is Shakespeare’s
A Midsummer Night’s Dream, in which
the lusty madness of a long summer’s
night justly prompts the observation,
“Lord, what fools these mortals be!”
It all must be so beautiful in old Sweden
now—Midsummer time—one almost chokes
up thinking about the long, light nights; the
still, clear bays where birch promontories are
reflected, where cuckoos call and the thrushes
sing wistfully in the woods in the twilight; the
strains of a fiddle and the sounds of dancing in
the distance…rustling in the birches; heart and
eyes and hands full of love; the sun gone, but the
rays remaining, like a gloria around the general
intoxication, in which all the secret longing that
ripened during the long, cold spring releases itself
like a shower of incorporeal flowers that are just
scent, which the soul drinks in….
A second strand that Shakespeare’s
Midsummer also introduces, and which
both Bergman and Sondheim exploit, is
the longstanding tradition of sending
city folk out into the country, the woods, or some other “natural”
setting to let the environment work its magical transformation.
There, amidst trees and brooks and, one imagines, birds and bees
doing what comes naturally, the idea is that civilized folks will do
the same. Sometimes the effects are salutary, as in Midsummer
or As You Like It, with couples going through allegorical purgation
to come out aligned. Sometimes the result is less wholesome, as in
The Bacchae (dismemberment) or King Lear (madness and devastation).
When Sondheim himself revisited the formula in Into the Woods, his
revisionist exploration of fairy tales, he tried both. Perhaps lovers or
pairs of lovers must go through literally purging fire, as in Mozart’s
The Magic Flute; sometimes it is more a class or group finding solace
▼ Richard Bergh, letter from Normandy, 1887
in retreat, as the group of friends does in McNally’s
Love! Valour! Compassion! Other times it is the
gradual perspective and transformation wrought
by isolation and time—as in Chekhov’s Uncle Vanya,
or Turgenev’s A Month in the Country—that realign
priorities or make folly possible. Films frequently
turn the trope into road comedies, like Sturges’
Palm Beach Story or Capra’s It Happened One Night,
and use travel as license for love. In the end, though,
whether new couplings ensue or not, what any of
these characters seems to find at the other side of
the festive and pastoral rainbow is themselves. ❖
Next Stage: A Little Night Music | 1

BiBliogr aphy
Bergman, Ingmar. Images: My Life in Film. Arcade Publishing: New York, 1994.
Bergman, Ingmar. The Magic Lantern: An Autobiography. Viking: New York, 1988.
Brandstätter, Christian, ed. Vienna 1900: Art, Life & Culture. The Vendome Press: New York, 2006.
Gallagher, Fiona. Christie’s Art Nouveau. Watson-Guptill Publications: New York, 2000.
Jay, Mike and Michael Neve, eds. 1900: A Fin-de-siècle Reader. Penguin Books: London, 1999.
Köster, Hans-Curt, ed. The World of Carl Larsson. Allan Lake Rice, trans. Nordic Heritage Service:
London and Green Tiger Press: San Diego, 1998.
Meser, Thomas M. Edvard Munch. Harry N. Abrams, Inc.: New York, 1985.
Nordstrom, Byron J. The History of Sweden. Greenwood Press: Westport, CT, 2002.
Sprague, Martina. Sweden: An Illustrated History. Hippocrene Books, Inc.:New York, 2005.
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