近距离内射合集

The Tony Award-winning musical 鈥淭he Light in the Piazza鈥� is a sensitive character study about a young woman with a mental disability, Clara Johnson, who falls in love with the charismatic Fabrizio Naccarelli while vacationing in Italy with her loving but protective mother, Margaret, in the early 1950s.

Musical Theatre Southwest鈥檚 production of 鈥淭he Light in the Piazza鈥� opens on Friday, July 24. Director Natalie Hadley said the musical is rarely performed, despite being critically acclaimed, because the music is simply too challenging for many smaller companies. The music and lyrics were both written by Adam Guettel, grandson of acclaimed musical theater composer Richard Rodgers.

鈥淚t鈥檚 a very interesting piece, because it does mix classical with modern technique, but the score is rooted in classical,鈥� Hadley said. 鈥溾�� The dynamics that are required for this piece, the vocal requirements, and all of the tempo constructions are extremely difficult. It鈥檚 definitely erring toward (Stephen) Sondheim with a mix of Italian opera.鈥�

The operatic sequences offer chances for classically trained singers, such as Erin Williams 鈥� who plays Fabrizio鈥檚 sister, Franca 鈥� to demonstrate their vocal abilities.

鈥淗er voice is exceptional,鈥� Hadley said. 鈥溾�� I mean, gosh, she has to sing 鈥� I think it鈥檚 a high F sharp, which is absolutely crazy. She鈥檚 in the whistle zone.鈥�

The orchestration is difficult, too, Hadley said, and requires a floor harp.

鈥淭hat definitely adds a certain layer to the overall budget of the prodution,鈥� she said. 鈥淚 mean, the score is something that a lot of people fear. It鈥檚 very complex. So, again, it鈥檚 just not done often, for that reason.鈥�

Hadley wanted to present 鈥淭he Light in the Piazza鈥� in the round, with the audience encircling the performers, to allow for a more intimate and immersive experience.

鈥淚t is a multifaceted musical, and the way in which the music is written requires many entrance and exit points for leveling and structure. So, I wanted to create an immersive space that was in the round,鈥� Hadley said. 鈥淔or that reason, we have a canopy-like structure that encloses the audience in a tent-like structure with a turntable (rotating platform) in the center. So, we enclose everyone in the black box, and we allow them to escape to Italy.鈥�

The dynamic staging, with movement in all directions, also suggests the characters鈥� complex and evolving perspectives, she said.

鈥淚 realized it was needed, because the emotional layers of this piece are nuanced and symbolic,鈥� Hadley said. 鈥淪o, it required a vantage point of many, rather than a few.鈥�

Jane Walsh, a dramatic soprano, is exceptional in the role of the concerned parent, Margaret, and Morgan Geddes, a lyric soprano, is equally exceptional as her daughter, Clara, Hadley said.

鈥淥h my gosh, Morgan Geddes is phenomenal 鈥� just a true talent and a shining star in our community,鈥� Hadley said.

Clara is unaware that she is disabled at first and only comes to understand her condition during the course of the musical.

鈥淲hen Clara sings the title song, 鈥楾he Light in the Piazza,鈥� it鈥檚 very touching, because Clara is explaining that perhaps she does have a disability; however, just because she sees the world differently, it doesn鈥檛 mean that she鈥檚 lesser or not as capable,鈥� Hadley said.

Meanwhile, Margaret must go on an introspective journey of her own, as she wrestles with how much freedom to give her daughter.

As the mother of a child with disabilities herself, Hadley said the story is close to her heart.

鈥淢y son, who is 5 years old, has level-three autism and is nonverbal, and he may consistently need my care for the rest of his life,鈥� she said. 鈥淎nd I thought this story was an important one to tell, because I still see the light in my son, and I still see his worth within this world. 鈥� 鈥楾he Light in the Piazza鈥� really encapsulates this concept of how we can see beyond someone鈥檚 disability 鈥� and also acknowledge that they deserve their own happiness. They deserve their own freedom.鈥�

In addition to musically complex songs that tug at the heartstrings, the production will feature ballet dancers.

鈥淚t鈥檚 a very symbolic, artsy-fartsy musical. And, on top of that, I decided to overlay a ballet,鈥� Hadley said. 鈥淲ith all this artsy-fartsiness, I wanted to honor the classical Italian opera and the themes that are constructed in 鈥楾he Light in the Piazza,鈥� the musical, so I wanted to incorporate a ballet. I'm very fortunate to say I鈥檓 working with Meridith Williamson and Daniel Garcia, who are both featured dancers at the Albuquerque Ballet, and they are working in partnership with Joaquin Dean and Kaya Howard. They are all exceptional.鈥�

鈥淭he Light in the Piazza鈥� is Hadley鈥檚 15th directorial effort, and she said the performers are among the best she has ever worked with.

鈥淚 believe I have one of the most talented casts in community with incredible vocalists 鈥� So, it鈥檚 going to be a true treat to hear them sing this score,鈥� she said.

Logan Royce Beitmen is an arts writer for the 近距离内射合集. He covers visual art, music, fashion, theater and more. Reach him at lbeitmen@abqjournal.com or on Instagram at @loganroycebeitmen.