A Little Night Music, composed by Stephen Sondheim, opened in New York on February 25, 1973 to excellent reviews and subsequently received the Drama Critics Award for Best Musical of the Year.

Set in turn-of-the-century Sweden, it revolves round the amorous adventures of a series of mismatched husbands, wives and lovers. The convoluted plot is heavily dependent for survival on the musical commentary of a quintet of Liedersingers, in this case, Cyanne Thomas, Kathryn Winter, Rhona Vallender, Keith Madeiros and Peter Nash. In ensemble and as soloists they are absolutely splendid and from their opening Overture, the high standard of vocal prowess displayed throughout this lavish production was resolutely established.

The central figures are jaded actress Desiree Armfeldt, played very convincingly by Helen Coffey and Nigel Kermode who brought his usual professional expertise to the role of her erstwhile lover, lawyer Fredrick Egerman. Desiree's daughter, the lovely and very talented 12-year-old Rebecca Faulkenberry is significantly named Fredrika. Fredrick, who has married a young and, after several months of marriage, still virginal bride, a child-like and naive Happy Lindsay, is driven by sexual frustration back to the arms of the all-too-willing Desiree and the intrigue begins.

Director Joel Froomkin was also responsible for the set design with construction by Richard Klesniks. With simple but ingenious multi-moving panels as backdrop and lighting by Peter Woodhouse, the lush period piece was transformed with absolute precision throughout the evening by the injection of a glorious array of rich and evocative scenery, including at one point two vintage cars and at another interesting juncture a confidently ridden tandem.

The only apparent weakness, apart from a dinner party without a table, was the picnic scene in Act Two where grande dame Elsbeth Gibson was seated on a rather inadequate carpet; not really sufficiently imposing for someone of her stature. But for the most part, with some of the most sumptuous costumes ever seen on City Hall stage, this production was a visual delight.

An array of first-rate musicians conducted by musical director James Burn, ensured an excellent orchestra which played with colour and finesse.

Unfortunately the balance, perfect when accompanying the singers who were experienced and extremely able, was not quite so good when spoken dialogue was involved. Madam Armfeldt played, with suitable hauteur, by the indomitable and ever popular Ms Gibson, had some of the most wonderfully wicked lines in this very witty and stylish comedy. Unfortunately some of these and those of young Rebecca Faulkenberry were submerged by an overwhelming orchestral accompaniment. The chemistry on stage between these two, the aging courtesan and her pubescent grand-daughter was nevertheless well established and highly entertaining. Both sang well.

Wayne Holt, one of the best singers on the local scene at the moment gave a sterling performance as Count Carl-Magnus the painfully pompous and strictly regimented lover of Desiree. His wife, Countess Charlotte, the only spouse who truly loves her husband -- though one wonders why -- was superbly acted and sung by a transformed Patricia Morgan. Normally associated with musical roles of a lighter nature, this established her as an actress of considerable substance. Hers was an impressive performance.

To add to the emotional debacle, there is Henrik, Fredrick's son who is in love with his stepmother -- but since she is still a virgin, that's all right, and eventually they run off together. Joel Froomkin's interpretation of the repressed and depressed cello playing theology student was good, but a little frenetic at times -- there was a lot of rushing about -- probably one of the dangers as director of not being able to see yourself. His improved vocal quality, however, and his fervour did much to establish his credibility as a young and confused lover.

One of the highlights of the evening was undoubtedly Victoria Waddington's performance as Petra. As the Egerman's maid Miss Waddington brought a welcome earthiness to what was an otherwise all too refined aristocratic environment.

With Frid, played by Derek Corlett, she captured the peasant sensuality of the saucy and ebullient Petra beautifully and her solo "The Miller's Son'' was excellent.

Known as the "Send in The Clowns'' musical, probably because that is the only easily identifiable melody in the entire piece, this popular song was well delivered by Helen Coffey. It's not actually easy to sing as it wanders around rather relentlessly in the middle section, but Miss Coffey did wonderfully well, and was eventually joined in duet by Nigel Kermode who proved himself to be throughout his demanding role not only a superlative actor but a fine singer.

With cameo roles form Jean Hannant as Malla, Katherine Watts as Osa, and Tracey Miller as Regina, the talented cast was completed by a quintet of superbly synchronised male servants. There was minimal choreography, but the set movement was effective and always sympathetic to the demands of the singers - a boon in complex vocal ensemble particularly.

Produced by Donna Froomkin, "A Little Night Music' is a presentation which has paid dividends in its undoubted attention to painstaking detail and the involvement of an exceptional team on and off stage. The Gilbert and Sullivan Society should be proud of its sparkling contribution to this year's Bermuda Festival.

---- Marjorie Pettit THEATRE REVIEW REV