www.hartfordstage.org
through March 16, 2014
by Jarice Hanson
With themes of closeted homosexuality in the twentieth
century, and looking back at one’s life, wondering what could have been,
"A Song at Twilight" resonates with today’s audiences on a number of
levels. Noel Coward wrote this play in 1965 and called it “the most serious
play I have ever written.” The script has the unmistakable Coward touch; wit
that cuts through hurt and cruelty unleashed by the aid of alcohol, but it also
expresses sadness and loss that shows the pain of living a lie in an era of
denying one’s true love.
The talent in the show is undeniable. Mia Dillon is
brilliant in her portrayal of Hilde, the efficient wife of convenience; Gordana
Rashovich as Carlotta, the former lover, is chic and powerful. The women’s
parts are written with such clarity and purpose that their stories almost
overcome that of the famous aging writer whose reputation could be ruined by
the scandal Carlotta could affect. Brian Murray as Hugo has a voice that can
turn from honey to flint in one sentence, but Director Mark Lamos panders to
today’s audience with unnecessary music and visualizations of flashbacks, and
presents Murray with competition on stage that ruins the mood he tries to
create.
In this production, the actors cannot overcome a set that is
too large and colorful for such an intimate portrait of fame, love, and the
“complacent cruelty” that comes with introspection, desire, and loss. Rough
patches in the opening of the production will probably become smoother
throughout the run, and the crisp dialog is a treat for the ear, but audiences
must realize this is a cerebral play, and those hoping for more may be
disappointed.
