The Light in the Piazza (Southbank Centre)

I tried with the OBCR years ago and it didnt really grab me, and whilst it was better in performance, It still didnt do it for me. Dove Cameron, who i only knew from her stint as an assassin in Marvel's Agents of Shield, was ok, if not a bit too twee and Renee Fleming was actually better than i expected. Rob Houchen was the stand out in the first half. I didnt stay for the second.

From row GG it looked and sounded nice, but i need something more than nice to keep me engaged.

Yep that was her.

I am not sure if you missed much. The twee picture post card set harking back to a time that never existed is miniscule and lacks creativity.

Got two £20 restricted view in Row F front stalls; over the phone. TodayTix rush was only offering me rear stalls and I didn't want to go there. Box Office Assistant said there are only one or two scenes that might be missed.

Looking forward to it- even though the set looks pathetic, won't lie.

I saw this on Wednesday evening. Let me first say I saw this at the Lillian Beaumont at Lincoln Centre in New York during its Broadway run and it is easily one of my favourite musicals for the sheer brilliance of the score. Victoria Clark and Kelli O'Hara were perfectly cast and it is one of my most played OBCRs.

I was so excited to watch this here in London. I was also very excited for a large orchestra to do the score the justice it deserves. So here I go...

The overture was chopped to less than a minute. I cannot see why a Tony award winning score with a huge orchestra there to show it off was chopped off. This left a really bad taste in my mouth throughout the entire show. I also didn't understand the need to add the word 'purple' in front of 'corduroys' during The Beauty Is...so random! I still really enjoyed it, but this was sheerly based on the fact that I love the music and was familiar with the story. 

Rob Houchen was by far the standout. He took an incredibly difficult role (that was poorly done by Matthew Morrison in my opinion) and really took it to another level.

Dove Cameron was an ok Clara, but was too young for the part at 23 (she looks 18). She played the naivety and immaturity of Clara very well, but lacked the 'shock' value the role requires (will avoid spoilers) and although she does a good job on The Beauty Is and The Light in the Piazza, I was underwhelmed overall. 

I reallllllllly wanted to love Renee Fleming, but she simply wasn't enough in the acting department. She seemed disjointed at times and felt really robotic at times. Her highlight to me was luckily during my personal favourite part of the show (The Beauty Is (Reprise)) which she delivered with raw emotion and purity that she lacked at several other parts of the show.

Overall, 3 stars is pretty much right. The set is obviously basic (20 performances- hello?!) and the Royal Festival Hall is wayyyyyyy to big for this. I was on Row B Centre stalls and it was incredible, but the rear stalls would have been awful. I wanted to love this, but it simply fell short. I still enjoyed it though as it was so great to hear this gorgeous score live again, and I will probably be back to hear it one more time before it closes.

Went in not knowing the story; just the title song. Part of me fell in love with it, other parts of me really came out disappointed!

There were so many great elements to this production. First and foremost the orchestra and the stunning score. Whatever is said; there's no denying that the score is beautiful, and especially when played by that massive orchestra.

Most of the cast was outstanding, Rob Houchen blew me away. I'd only previously seen him in Les Mis, and now this, he seriously deserves to be getting more work! His voice was like butter, soaring perfectly. I thought he sounded stunning with Dove Cameron with, whom I was pleasantly surprised. She did a good job on the acting side. I did not expect her to sing so well, so props to her. Alex Flemmings and Celinde Schoenmaker, of course, were great as always!

I found the lighting was apt for the massive space. The costumes were lavish, especially Dove and Renee's gowns. The sound was fine. Only a couple times words were drowned out, I was expecting a lot worse. Could sound a lot different from the very back, but from row f, it was fine.

The not so great elements;

Renee Flemming. I tried my hardest to get on board with her, but I just couldn't warm to her. I felt that she struggle to sing the low/normal notes but soared in the operatic parts. You could easily tell where her expertise lies. Her acting was mediocre sadly. She was just sort of *there* and nothing else. A shame as she is obviously a very talented and deserving woman but felt so disjointed from her portrayal. Sadly I don't see the craze for her, yet her top billing either. I understand she is renowned in the opera world, but musical theatre isn't really the place for her. I'd be happy to be proved wrong but from tonight sadly no.

The set. I get that it's 20 performances, but looking at the production it seems the money was thrown into everything apart from sets! Even amazing props and a Vespa! The setting is simple, and from looking at other productions, I think I could've done something better. It was feasible but a strong set, that was used tightly with lighting could've made me love this. The broadway and curve productions looked big, simple and sparse yet stunning. This had the capabilities too but obviously, it didn't go that way sadly!

The story. It was a nice story, with a couple of emotional twists. But it all felt very, very rushed. For how superior this score sounds you would think the story would have a lot more meat to it! They were also all so quick at overcoming a language barrier!


Some changes to the set, and maybe a different leading lady could've completely changed my view and enjoyment on this. 3* production of what could be a 5* musical, if done right. Will definately see a different production if one ever comes around again!

Also just found out that Adam Geuttel's Grandfather was Richard Rogers. Explains why this show has an absolutely beautiful score.

Richard RoDgers, please !!! :-) The programme unforgivably spells the great man's name wrong, but no reason for us to do so. Theatrical detention for the programme copy editor (!)

I would rate “The Light in the Piazza” as having the *single best* Broadway score since “Sunday in the Park with George” (1984). Mr. Guettel reinvents the musical-theatre compositional palette in the most gorgeously original and sophisticated ways. That said, I don’t like the show very much. The plot is almost silly, the stereotyping of Italians is tiresome, the no-4th-wall storytelling pretentious, awkward, and strictly from hunger. Victoria Clark is maybe hard to beat in the lead role, but that should hardly deter other productions and actresses from entering the derby (Donna Murphy seems an obvious choice; Renee Fleming is stunt casting, Dove Cameron less so). Lastly, Italian accents are the easiest for Anglos to reproduce. Why can’t Broadway and the West End step up in this regard (with this criticism ironically affecting even Kelli O’Hara in “The Bridges of Madison County”)? But then, when several successive editions of a Broadway reference book have listed the show’s title as “The Light in the Pizza,” what can you expect these days? [Relatedly: Please, everybody, spell Richard Rodgers’ surname correctly.]

Part of my loved this. Another just couldn't connect sadly.

Cannot deny how beautiful the score is though. I was in raptures listening to it.

The Kelli O'Hara recording is just as beautiful. Was the orchestra this big whilst it was on Broadway?

Also I saw this this afternoon and while I knew it wasn't as good as the Broadway production while watching, I also couldn't stop myself from bawling my eyes out so almost despite itself I still loved it but I suppose that's just my love for the show and the music itself more than anything but that's not to say that the cast weren't good or anything as I thought Rob, Dove (her Light in the Piazza was one of my favourite versions I've seen) and Celinde were especially great and even Renee was good enough but I think it would have been hard for me not to cry as this music just gets to me for whatever reason. I relate a lot to Dove's description of her love for the show in the programme in fact!

I was also there at the matinee today.

Well, the score is glorious! (Although I knew that going in). If you had to describe my musical aesthetic in just one show, this would be it - lush, lyrical, romantic, operatic and just sublime! I know that this type of score can be a required taste, but how anyone can find this derivative is beyond me. It is evocative of so much - the Italian landscape, the excitement of first love and unspoken feelings coming bursting to the fore.

It was also a relief to hear the score so well sung:

- Rob Houchen as Fabrizio was a revelation to me. What a voice that man has, and a perfect fit for this score. I would certainly like to hear more of him in the future.

- Renee’s singing was beautiful also, even if Margaret’s music sat a bit low for her. (Her acting on the other hand was sometimes somewhat questionable. Her laughs did not always land, and she was more naturally suited to the dramatic aspects of the part which fitted her well).

- Dove Cameron was a very pleasant surprise. Her voice was very pretty, and was perfectly suitable for Clara, even if she obviously does not have the heft of Kelli O’Hara. As another poster has said, her “The Light in the Piazza” was beautiful, and had me welling up. It was probably one of the standouts of the whole production.

- Celinde Schoenmaker was brilliant as Franca, if a little under-used.

It is just a shame that this gorgeous music is married to what in my opinion is such a dramatically inert story. Of course, I imagine this is more a fault of the source material than the musical itself. Whilst the relationships of the various couples are quite complex, the story is not. After the initial meeting of the two lovers, the first act doesn’t really go anywhere, and quite frankly I was more than a little bored in some moments. However, the second act is much better, and seemed to pick up the dramatic momentum a little more.

The production was serviceable, if nothing more really than a staged concert.

Still, it is worth going to hear this score played by the 40-piece Opera North Orchestra, and sung so well. It is also great to finally be able to see THE LIGHT IN THE PIAZZA on the London stage. There are more than a few moments of emotional connection, where I had tears welling up in my eyes - Clara and Fabrizio’s first meeting, “Say It Somehow”, Dove’s “The Light in the Piazza” as mentioned above, “Love to Me” etc. Evans’ direction often lets silence speak for itself.

Go if you can!