The Light in the Piazza

The Huntington

May 9 – June 15, 2025

If you missed a decadent Valentine’s treat or the dreamy drizzle of April in Paris, and are in need of romantic fix, may I suggest a trip to Florence, courtesy of The Huntington’s gorgeous production of The Light in the Piazza.

Elizabeth Spencer’s 1960 novella is a conventional tale of boy meets girl, laced with cross cultural humor Italy versus the US circa 1956, plus the sweet confusions of not knowing each other’s language. Oh, and did I mention that the girl is “special?” The euphemism of choice in that era for developmentally disabled. In this case, arrested intellectual and emotional development incurred by an accident when Clara was twelve. I have no idea whether getting kicked in the head by a pony at your birthday party can actually trigger such damage, but it makes for great romantic fodder because Clara is beautiful and sweet, and oh, so very innocent.

In the early 21^st century, non-plussed by the reality-based fare populating Broadway stages, composer Adam Guettel set out to write something richly romantic. He succeeded. The score of The Light in the Piazza is sweeping, operatic in scale and entirely over-the-top. It perfectly matches the completely unbelievable, yet enchanting story. It’s a fable, a myth, a wishful dream that takes us out of our everyday lives and places us, gently, on clouds of desire fulfilled.

Clara and her mother Margaret are visiting Florence, a replay of the honeymoon trip Margaret took with her newlywed husband well before the war. If you’re wondering why it makes sense to bring her daughter on his memory trip instead of her husband, you’re not giving over to the romantic fantasy. Suspend all rational thoughts and—trust me—you will fall under the Piazza’s thrall. Fabrizio, son of a local haberdasher, sees Clara and falls instantly in love. Ditto Clara. Most of the first act is spent with long suffering Margaret trying to explain to Fabrizio, his father, his mother, his brother, anyone who will listen, why Clara is not a viable love object. No one else sees a damaged girl. They see only charm and beauty.

In Act Two, Margaret yields to this rush-on romance, and though there are numerous obstacles along the way, it’s hardly a spoiler to say that all ends well for lovers in Italy. Because, let’s face it, no one goes to see The Light in the Piazza for the plot. We go for the elegant sets, the shifting light, the soaring music and the complicated lyrics that pour over us like Tuscan wine. By these criteria, The Huntington delivers. The basic set is simple, but the floating columns, the parting screens, the Roman arches, the projected masterpieces, and the smooth sliding furnishings are so finely choreographed that scenes simply melt into one another. The lighting is both dappled and shimmering throughout. The entire evening is simply stunning.

The cast is uniformly good, with solid Broadway voices adept at handling the challenging music. Among all, Joshua Grosso as Fabrizio stands out. His voice—less belt, more lyrical—is amazing. He transitions into high register with languid smoothness. One of the most affecting singers I’ve heard in years.

The Light in the Piazza, so consciously romantic, was conceived as a throwback musical. To fully enjoy it, we must relinquish our 21^st century penchant for speed and diversion. Single actors stand center stage and sing soaring arias. Without interruption or business. The leisurely pace is the point.

As I sat, my heart blooming with romantic possibility and my blood pressure calming, I marveled at this lovely production. Compared with any travelling Broadway show, so mechanically produced that they lose their soul, this home-grown production is so much more satisfying. The Huntington’s Piazza offers every bell and whistle that the Great White Way has to offer, plus the vitality of something that’s still fresh and new. An evening of escape to Tuscan spring. A glorious production.