DEBORAH DEL MASTRO (left) and Rachel Robinson in “The Light in the Piazza,” at the Willows Theatre through March 3. Judy Potter photo

Theater review by Elizabeth Warnimont
Special to The Herald

Willows Theatre’s 2012 season opener, “The Light in the Piazza” by Craig Lucas and Adam Guettel, has a distinctly professional feel, and the critical role of Clara, a young woman finally breaking free from her mother’s protective presence, is carried off superbly by Willows musical director Rachel Robinson.

Actors’ Equity Association member Deborah Del Mastro is Margaret Johnson, a mother who has brought her adult daughter on a vacation to Florence, Italy. Just as Margaret is coming to bemoan the lack of romance in her marriage, her daughter Clara (Robinson) seems to be falling desperately in love with a young Italian man.

The play, directed by Eric Inman, is almost overly romantic, yet it contains practical life lessons. In the opening scene, Fabrizio (Robert Kaywin) catches Clara’s hat as it blows away from her in the wind. It’s love at first sight — but the relationship somehow manages to progress into something realistic and promising.

The musical score is equally romantic, a pretty and melodic combination of piano and violin with percussion accompaniment. The acoustics of the theater suit the small ensemble, directed by Kim Vetterli with Deborah Ashley on violin. The operatic songs are also well performed, the lyrics sufficiently clear that supertitles are not required.

The key to the interest level of the story is the way the true nature of the characters’ relationships is so gradually revealed. It’s one thing to see two young people become smitten with each other, for example, but the real passion lies in the way they overcome obstacles. Clara’s mother must relinquish control of her daughter, a goal that seems insurmountable as her reasons for being so protective become known. Clara needs to let go, too, though her job seems easier given the world of freedom and discovery that she has to look forward to.

Fabrizio (Robert Kaywin) gets an English lesson from his sister (Vanessa Lucero as Franca Naccarelli). Judy Potter photo

Finally, the father of the groom (Jonathan Spencer as Signor Naccarelli) finds a reason to vehemently oppose the kids’ relationship. Fortunately, that’s when Margaret steps in and makes a concerted effort to reconcile the families’ cultural differences.

Other characters serve to enrich the play’s emotional network. Fabrizio’s brother Giuseppe (Matthew Provencal) brings out the simpleness in his brother’s personality by contrast to his own, more assertive nature. Giuseppe and his wife Franca (Vanessa Lucero) illustrate a lopsided and contentious marital relationship. Clara’s father (Dean Creighton as Roy Johnson) reveals a woeful absence of mutual affection in his marriage with Margaret, and Sr. Naccarelli demonstrates a hurtful bias in his feelings toward his two sons.

Fabrizio’s mother (Equity actor Teressa Byrne as Signora Naccarelli) presents yet another take on matrimony. She suspects that her husband is having an affair, and believes that he suspects her suspicion, though such sentiments remain unspoken between them. Further, Sra. Naccarelli explains why she actually views strife in her household as serving a noble purpose: it effectively causes the family members to turn to God, where she feels the ultimate resolution of conflict resides.

Robinson is impressive as Clara, a special young woman with a unique personal attribute that is revealed, and its importance tenderly examined, as the story unfolds. Del Mastro is also a powerful presence on the stage as a woman with a solid, heartfelt determination to navigate some crucial conflicts in her family life.

Other strengths of the performance include a sensitive, emotional rendition of “Dividing Day” by del Mastro and a touching and tender “Love to Me” in the second act, sung by Kaywin.

Quality reigns in the production overall. Fine acting is enhanced by concert-quality music and professional engineering.

If You Go
“The Light in the Piazza” continues at the Willows Theatre in Concord through March 3. Tickets are $30-$36 and are available by calling 925-798-1300 or online at willowstheatre.org.

Elizabeth Warnimont is a freelance writer specializing in the performing arts. She is a regular contributing writer for Bay Stages magazine and writes a weekly review for The Herald.

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