January 26, 2012
“This is not a musical where characters randomly break into song,” said Andrea Wrobel ’13, who is set to play the leading role of Liza Elliot in the upcoming College Choir production of Kurt Weill’s Lady in the Dark.
“I’ll be the first to admit that can become a bit irritating.”
The musical, which Wrobel believes is more aptly described as a “play with music,” first graced the Broadway stage in 1941; it didn’t fit the traditional Broadway mold then, and it certainly doesn’t fit that mold now.
The show is quite different,” Wrobel explained. “It’s music is a little more justified [than that of a typical musical]. There are only three musical tableaux, and they all take place in the acting out of Liza’s confused, fantastic dreams. Outside of the dream sequences the musical’s dialogue is that of a dramatic play, encompassing a broad range of emotions and characterizations.”
Lady in the Dark focuses on Liza’s therapy sessions, which she attends because of her severe depression and perpetual anxiety.
“[Liza] is haunted by getting married, by being merely an average looking woman, and by her demanding job. Liza is clearly a troubled woman. Her life is upside down, but underneath her anxiety she is a strong woman with a quick sense of humor.” Liza’s anxiety is compounded by her inability to choose from one of her three love interests (played by Will Robertson ’14, Andrew Nichols ’14 and Bryce Lupoli ’15, respectively).
Each suitor brings different baggage into her life. Robertson’s character is her lover of many years, but he has just recently divorced from his first wife. Liza nevertheless sees his divorce as an opportunity for her to finally tie the knot. Lupoli’s character, on the other hand, finds himself totally “infatuated with Liza’s natural appearance, giving her a false sense of strength.” Liza’s self image is in a constant state of flux, insofar as her self-esteem is “easily elevated by a dash of makeup and a fancy dress.” Nichols’ character, the advertising manager at Liza’s fashion magazine, “drives her crazy with his immature sense of humor. But this is only a front for his softer, more sensitive side.”
There are plenty of options available to Liza, but according to Wrobel, “she simply can’t pick one.”
Adding psychological depth to the show is Dr. Brooks, (played by Gabe Hage ’12) whose “analysis mirrors that of Sigmund Freud’s. Liza has anxiety dreams, and the musical numbers take place during the analyses of those dreams.”
Despite the experimental structure and sometimes dark imagery of the production, Wrobel pointed to some of Lady in the Dark’s lighter scenes as potential must-see moments.
“The Circus Dream in Act II includes colorful costumes and an acrobatic number you will not want to miss.” Wrobel also sought to draw attention to the standout performances of her colleagues on stage and the genius of the original masterminds behind the show.
“Some high points of the performance are the glorious voices of the college choir, the solo voices of my fellow leads and Kurt Weill’s score. Weill is an incredible composer and the music in this show is not an exception.”
Lady in the Dark, under the direction of G. Roberts Kolb, opens in Wellin Hall on Feb. 3.