A Little Night Music

I was delighted to be invited to South Manchester AOS' 138th production in their 70th year at Altrincham Little Theatre. It was my first visit to this charming, period venue, and there's always something special about those long-standing theatrical spaces. Upon arrival, I was warmly greeted by the front-of-house team and shown to our seats.

The musical A Little Night Music, composed by the renowned Stephen Sondheim, takes the audience on a journey through romantic entanglements over a weekend at a country estate. The story weave’s themes of love, regret, and reconciliation, with touches of humour and poignancy. At its heart is lawyer Fredrik Egerman, his young wife Anne, and his former lover, actress Desiree Armfeldt. Their lives intertwine with those of Desiree’s current lover, Count Carl-Magnus Malcolm, and his wife, Charlotte. The musical’s title draws reference to the “three smiles” of a summer night: one for the young, one for fools, and one for the old.

From the opening number, the power and conviction of each performer shone through. While I’m not especially familiar with opera, this musical carries an element reminiscent of the genre, and its lush, sophisticated score and intricate vocal arrangements made for an impactful beginning. The band—consisting of piano, reeds, and a cellist—was led by Steven Mercer-Murray and Andrew Harsley. It was a joy to both see and hear them; often societies position their musicians out of sight due to spacing constraints, but here, their presence enriched the experience. Each musician played with precision and harmony, seamlessly blending their talents to create a unified sound that underpinned the dramatic shifts in mood throughout the scenes.

The Liebeslieder Quintet set the tone beautifully, delivering a well-harmonized, controlled, and accurate rendition of The Night Waltz, enhanced by purposeful gestural movement and staging. Throughout the musical, the sound balance between vocals, band, and microphones was impeccable.

Leading us into Now and Later, Peter Roberts, playing Fredrik Egerman, delivered a performance with precision and depth, capturing the intriguing complexities of his character—a recent widower now married to a younger woman. Morgan Wild portrayed Anne with sincerity, fully embodying her innocence and naivety. Her ability to convey Anne’s inner struggles with intimacy was truly endearing—well done, Morgan!

Turning to the Armfeldt family, their charm and complexity added further depth to the musical, with each character representing different stages of life and love. Jill Ratcliffe, playing Madame Armfeldt, brought delightful wit and sharpness to the role, earning laughter with her impeccable timing, well-placed pauses, and unyielding stern expressions. In contrast, Desiree Armfeldt, played by Stephanie Niland, radiated glamour and accomplishment as a stage actress. This role risks being overplayed, but Stephanie struck the perfect balance, delivering it with grace and charm. Her beautifully sung rendition of Send in the Clowns was a standout moment.

While I personally would have liked additional lighting effects—particularly a spotlight for Send in the Clowns—I understand the constraints of certain theatres.

Overall, the performance encapsulated the beauty, intelligence, and heart of this remarkable musical. Thank you, South Manchester AOS, for your warm welcome and hospitality—I look forward to seeing you all again soon!

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