Monsters and Lovers

But that’s subtext to what is otherwise a musical spectacle. Though the script by Craig Lucas and the music and lyrics by Adam Guettel delve into other complications, basically it’s a stage love story set within a gentle contrast of cultures.

The HLO production appears to be the hot ticket of the summer. Scenic designer Gerald Beck provides a dazzling set of moving platforms and screens, and director Jean Bazemore keeps the stage filled with color and movement, assisted by costumes designed by Kevin Sharkey and Virginia Ryder and lighting by Jayson Mohatt.

The music is somewhat unusual for a Broadway show, tending toward more modern complexity and the operetta style, which plays to HLO’s strength, with music direction by Carol Ryder and John Chernoff. The live orchestra conducted by Justin Sousa provides both supple accents to the singing and memorable instrumental moments.

Carol Ryder as the mother and Bill Ryder as Fabrizio’s father are familiarly brilliant. Fiona Ryder brings charm and fine vocals to the role of the daughter, Clara. From the moment he appeared, anxious and smitten, the emotional center for me was James Gadd as Fabrizio. At first he sings mostly in Italian, in a style that reminded me of old popular recordings made by Italian opera singers. Then in the second act, when his character is more comfortable with English, his performance of the climactic love song is simple, direct and yet extraordinary: the highlight of the love story.

But this show also dramatizes the pitfalls and tragedies of relationships — especially in songs sung by Carol and Bill Ryder, but also in the songs and actions of other characters as they view their own relationships through the romance they see unfolding in front of them. Ably presenting these characters are Kevin Richards, Molly Severdia and Paula Proctor, with briefer roles made quickly credible by Phil Zastrow and Ellsworth Pence.

This is the final weekend for The Light on the Piazza: Friday and Saturday at 7:30 p.m.

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