{"id":10450,"date":"2019-07-11T16:39:01","date_gmt":"2019-07-11T16:39:01","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10450"},"modified":"2019-07-24T16:46:33","modified_gmt":"2019-07-24T16:46:33","slug":"the-light-in-the-piazza-my-fave-show-is-supes-problematic","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/07\/11\/the-light-in-the-piazza-my-fave-show-is-supes-problematic\/","title":{"rendered":"The Light in the Piazza: My Fave Show is SUPES Problematic"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today we are talking about the debut London production of The Light in the Piazza, which ended its run last weekend<\/em> AND which was announced by a staffer at Southbank Centre as “The Light in the Pizza will begin in 3 minutes” I kid you not.<\/em><\/p>\n\n\n\n

The year before I studied abroad in Florence (\u201cin Firenze in Firenze in Firenze in Firenze the painting of the world! it started then and there, and here we are!\u201d if you don\u2019t know all the words to this show you got some work to do), I saw the new Broadway musical The Light in the Piazza<\/em>, and I was blown away by how gorgeous it was. I screamed and danced in my seat (in my head! not a monster) at the golden age-adjacent score, the poignancy of the emotional beats, and the breakout performance from the person who would become my ATQ (all-time queen), Kelli O\u2019Hara. I loved the show so much I saw it again and I screamed in my seat \u201cYUP DEFINITELY STUDYING IN FIRENZE AND DEFINITELY GONNA FIND FABRIZIO AND BE LIKE SELL TOO MANY TIES FOR ME FABBY!\u201d (but in my head). So when they announced that the show was finally coming to London (only took 14 years) and not only that, but starring RENEE FORKING FLEMING?? Again, screaming in the seat, in my head. If ever I was overexcited for a show, boy howdy was this one it (it\u2019s okay to talk like that because the characters are southern). And if ever I was going to be disappointed\u2026well, dammit.<\/p>\n\n\n

The problem is, well there are several. Overall, the book is problematic as all get-out, and the perfection of the Broadway production distracted me from noticing OH SHIT THIS IS MR. F GOES TO ITALY. (If you don\u2019t get that joke you should watch \u201cArrested Development\u201d.) This was also Z\u2019s very first exposure to the show, so being cognizant of that meant I was thinking of how this production of this show worked as a representative for the material, and it wasn\u2019t great. This show is PROBlematic as fuuuuuuck! (Z\u2019s the one that pointed out the Mr. F thing.) (He was pretty much Lindy West for Love Actually<\/em> about this show.<\/a><\/span>)<\/p>\n\n\n

So why is this show so cringey? Let\u2019s share the plot. (NB the show is based on a 1960 novella and subsequent 1962 film so we can\u2019t blame book writer Craig Lucas for everything.) The Light in the Piazza<\/em> takes place in the 1950s, when a well-to-do southern belle named Margaret Johnson takes her daughter Clara to Italy. Clara is carefree and child-like, but looks to be in her 20s \u2013 except not in this production, because as played by Dove Cameron (which is a great name for a very Italian show, because it\u2019s like \u2018where is Cameron?\u2019), Clara looks 14 AT MOST, which makes everything much worse. Clara meets a young man named Fabrizio (\u201cFabriiiiiiizioooooo\u201d) and they fall in love and want to get married, even though they literally have had half of one conversation total because Clara does not speak Italian and Fabrizio only speaks THE MOST ADORABLE VERSION OF BROKEN ENGLISH EVER DOCUMENTED IN AN ART. He sings to her about her milky-white skin (\u201cmilky-hwite\u2026milky-hwite\u2026\u201d that\u2019s from A League of their Own <\/em>not this) without knowing the word for \u2018skin\u2019 so he keeps saying milk and it\u2019s the best part when done right and so ANYWAY, the kids want to get married even though they just met and don\u2019t know each other and Margaret is like \u2018that\u2019s a bad idea, no\u2019 even though Fabby\u2019s family is like \u2018This is great idea! Everyone marry now! we eatah the pasta!\u2019 Clara meets Fabrizio\u2019s family which includes his (hilarious) brother and the brother\u2019s wife Franca who is the GODDAMN WORST. Franca is mad at her husband because he cheated on her (which is painted over as not a big deal by everyone but especially by the Italian mother who is like \u2018you have no real romance or love if there is no deception and suspicion!\u2019 weird take) so instead of having a conversation with her husband, she flirts with Fabrizio and keeps trying to kiss him, which rightly drives Clara into a fury, and instead of everyone being like Clara is forking right, they make her apologize for getting angry which made ME fly into a fury. And all the meanwhile Franca is this devil whispering bad things into Clara\u2019s ear and it\u2019s very troubling and wrong and Franca sucks.<\/p>\n\n\n\n

You\u2019d think a mother not wanting her young dumb daughter to\nmarry literally a STRANGER in a foreign country would be enough of a reason,\nbut this is the 1950s when all you want for a girl is to marry her off so\nMargaret needs a better, bigger reason to not want to SELL HER DAUGHTER\nPERMANENTLY TO ITALIANS. And boy howdy, she has one. Margaret keeps hinting and\nhinting at Clara being not what she seems and this is my favorite part of this\nexperience, because at intermission Z said to me excitedly \u201cI think I know what\nthe secret is! Clara has been lobotomized! It\u2019s like your other favorite show Next to <\/em>Normal<\/em>! It\u2019s Next to the Piazza<\/em>!\u201d Even though Next to the Piazza<\/em> is the best thing\never and I\u2019m definitely going to write that mashup, I had to warn him that the\nreal reason was not as interesting as that. No, we find out that Clara not only\nlooks 12 but she acts 12 as well for good reason: because at age 12 she was\nkicked in the head by a pony and stopped developing mentally. She is mentally\nand cognitively disabled and so her mother, rightly so, doesn\u2019t want to leave\nher in a foreign country for the rest of her life with strangers who a) don\u2019t\nknow that and b) don\u2019t know how to take care of her.<\/p>\n\n\n\n

Oh but she does! They get married! Happy ending! Such\nromance! <\/p>\n\n\n\n

And this brings us to the most annoying parts of this show. For Problem A) HOLY FORKING SHIRT that should be an easy fix: Forking TELL FABRIZIO. This is not a secret you can or should hide! This is supposed to be her husband! What the fork is wrong with you people! Ughhhh. Isn’t this a CRIME?! Like can she legally consent? We need more information on that front and her future husband um DEFINITELY needs more information. And for Problem B), this makes me sad, because in the original production it was made clearer that the bond between Fabrizio and Clara was special, so special that Fabby instinctively knew how to take care of her. It\u2019s shown through all his little actions, but only spoken of once. In this production, that one spoken moment was all we got, so it seemed insufficient. Rob Houchen as Fabrizio was absolutely the high point of this production, but I think the direction failed him in this regard because the whole show should have been constantly showing how perfectly matched they were so that this disturbing story was ameliorated the tiniest bit.<\/p>\n\n\n\n

The direction failed in a lot of ways, actually, which made the book problems strikingly obvious instead of something I previously could semi-dismiss. There\u2019s a big climactic scene when Fabrizio\u2019s father announces the wedding is off because he sees Clara\u2019s handwritten form. Margaret thinks it\u2019s because the father thinks her handwriting is too childish (which is not a good reason?), but it\u2019s because he finally saw her age and she\u2019s too old for his son \u2013 she\u2019s 26 and he\u2019s 20. (I could have sworn that in the original production she was 29 but whatever.) Margaret\u2019s reaction here was of relief: he didn\u2019t find out our secret! That\u2019s a TERRIBLE reaction \u2013 it shouldn\u2019t BE A SECRET IF THEY ARE GETTING MARRIED. She laughs it off in her relief and the audience laughs and it made me angry again because it wasn\u2019t funny and shouldn\u2019t have been brushed aside. On Broadway it was still tense and more sophisticatedly handled; here it was like \u2018oh it\u2019s just that you think she\u2019s too old haha! No she is mentally 12 is that better for you?\u2019<\/p>\n\n\n\n

Anyway they get married and Margaret reprises the most moving line to me, the title of the show. When Clara sings it first, she\u2019s talking about the light being her love, for Fabrizio. At the end, on Broadway, it was the incandescent Victoria Clark watching her daughter get married and sharing that she, Clara, is her light. And it\u2019s forking heartbreaking and wonderful (even though you are like BUT WAIT A SECOND MARGARET you still handled this situation like a real Mr. F). But here, Renee\u2019s Margaret was like\u2026trying to get Clara to actually look at the actual light in the piazza during the wedding ceremony? It was so awkward and not emotional. I mean I still cried because it\u2019s the BEST SHOW but still.<\/p>\n\n\n

Renee Forking Fleming (official middle name) may be the best soprano in the world, like literally that\u2019s what the world calls her, but her foray into musical theatre has been less than tops for me. I mean, her track record so far is this and last season\u2019s Carousel<\/em> on Broadway<\/a><\/span>, which is ALSO INCREDIBLY PROBLEMATIC. And with a classic gorgeous AF score! Why is Renee\u2019s jam doing beautiful musicals with forked up books?? Why can\u2019t her jam be feminist musicals, modern works, or strawberry??!! It\u2019s always a treat to see her live, because yes \u2018best soprano in the world\u2019, but she kind of goes into Kermit-mode when she\u2019s not at the Met so maybe it\u2019s best she sticks to operaaa I know I\u2019m literally melting into my desk chair saying this because SACRILEGE but it wasn\u2019t\u2026the\u2026best. The rest of the cast was strong, especially Houchen and Dove Cameron as Clara, but I\u2019m let down by Margaret\u2019s storyline. She \u2018s the lead role, Clara is featured. But it seemed like the opposite here, and that\u2019s a directional problem. At least the gorgeous, classic, epic, romantic score still sounded pretty darn great. I love that they gave the score the full orchestra (courtesy of Opera North) it deserved — even though everything sounded a full beat too slow. (Fabrizio’s “Love to Me” was a goddamn dirge. Again, director (plus conductor.))<\/p>\n\n\n

Regardless of how forked up I realized this show is, I still love it so much and it\u2019s still one of my favorites so what are we even doing here, go listen to the original Broadway cast album and enjoy.<\/p>\n\n\n\n

<\/p>\n\n\n\n

INFORMATION<\/span><\/strong><\/p>\n\n\n\n

Even though this production closed last week, I have to discuss how badly the Southbank Centre is managed. First of all, whoever was in charge of pricing this show royally forked up, because it was way too expensive and thus criminally undersold. We bought cheap seats in the balcony boxes (‘cheap’ compared to how much they were gouging for even super rear stalls, which in this enormous barn of a theatre is too far back to pay so much for). Because the show was so undersold, they moved us from the balcony to those overpriced stalls. Win for us! But, they didn’t tell us till we went to go to our seats about 10 minutes before showtime. We had LITERALLY JUST picked up our tickets at the main floor box office, but they didn’t say anything there. Why didn’t they say anything there? But the lady waiting at the door upstairs was the one with the info? SO STUPID. Then, when we went to the stalls, the show started probably 10 minutes late because we noticed at least half the patrons were being turned away and told to exchange their computer print-outs for Southbank-issued tickets downstairs. Everyone was saying that the ticket agency they bought their tickets from (likely discounted) said these print-outs were their tickets! So why didn’t Southbank communicate with the agencies to tell their customers this info?? Infuriating incompetence. But that’s all on management; the actual staffers working the doors here were incredible (and just the messengers). Southbank needs to get its shit together! And more importantly, it needs to fire or not work with whoever priced this show – it was the final weekend and I don’t even think the mezzanine was open. Regardless of how fucked up the book is (SEE ABOVE), that’s a huge shame for such a big gorgeous show and for this cast and orchestra. FOR SHAME! SHAAAAAME. <\/p>\n","protected":false},"excerpt":{"rendered":"

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