A Little Night Music Review: Sondheim's romantic frolics astound in studio theatre
- Jack Davey
- 1 day ago
- 3 min read
24 February 2026 I 19:30 I Theatre@41 Monkgate, York
⭐⭐⭐⭐ I PR - Invite
I fondly remember my first experience of Sondheim with the Menier Chocolate Factory's staging of Pacific Overtures, the venue's c.180 seating capacity befitting the intricate nature of his work. Tonight's A Little Night Music, presented by Wharfemede Productions, benefits from the same modesty performed in Theatre@41's Studio Theatre, revelling through an emotionally nuanced score. Described by the late Stephen Sondheim as the 'Twilight Zone' between opera and musical theatre, A Little Night Music takes audiences on a humorously romantic series of affairs and second chances.
Adapted from Ingmar Bergman's 1955 film Smiles of a Summer Night, the narrative centres loosely around the ageing, albeit distinguished actress Desirée Armfeldt and her rekindled romance with Frederik Egerman. Desirée's romances, both past and present, cause tensions at the Armfeldt country resort as all characters find their summer loves... even the most unusual of relationships! The traditionally delivered material can feel dated in moments, although injections of farce alleviate the more old-fashioned tones.
Audiences are greeted by the Quintet before the auditorium, selling programmes and leading us to our seats in character. Not your typical pre-show experience, but the overly charming welcome adds to the façade of happiness that conceals later irony and delusion.
The group of five resemble a Greek chorus, in white costumes and pale make-up to provide commentary on the action. Moving named characters across the stage like chess pieces, they orchestrate a laboured and disingenuous portrayal of love, often polished with a cynical smirk. Across a lyrically complex show, their harmonies and enunciations are exceptional as the beating force to this production.
The female cast are particularly brilliant, notably Alexandra Mather (Anne) and Sanna Jeppsson (Charlotte) that bring a suitable melodrama. Hamming up the hysterical stereotype of late 19th century women, they take ownership and expose/critique how limiting the stereotype is. Mather's operatic vocals, notably in Now/Later/Soon are exquisite in such an intimate space.
A Little Night Music remains a pillar of musical theatre due to its landmark feature of Send In The Clowns, as legendary as anticipated through Helen 'Bells' Spencer's Desirée. Her showmanship and musicality craft a captivating leading lady, whose humility and comedic ability allow for a highly endearing portrayal.
Given the cramped studio space, the team make wonderful use of their elegant design. Hollowed picture frames adorn the walls, as if the Quintet have stepped out of their portraits as ancestors, reliving the same cycle. The performance is supported by a live orchestra, a sweeping 3/4 waltz time played with attractive tenderness under James Robert Ball's musical direction.
Both Jason Weightman and James Pegg excel as Fredrik and Henrik Egerman respectively, complimenting one another in their naivety and childish pursuits of dominance. Weightman's You Must Meet My Wife is handsome in cynicism, prompting many chuckles from the audience! And Katie Brier's 11 o'clock number The Miller's Son proves her to be quite the showstopper, in my personal highlight of the evening.
A Little Night Music is a conventionally challenging choice for an amateur group, however Wharfemede Productions more than meet the intense demands of Sondheim's beloved musical, even if it stands less timeless than others. In this Bridgerton-style romantic frolic, I can guarantee you will want to join the company after watching! And as my first visit to Theatre@41, this volunteer-run venue is led by one of the most friendly and welcoming team of ushers I have ever seen.
You have until Saturday 28th to catch this stylish revival: https://tickets.41monkgate.co.uk/
