REVIEW: A Grand Night for Singing delivers nostalgia, refreshing take on musical classics

The Players’ Guild of Hamilton’s revue brings the best of Rodgers and Hammerstein from The King And I, South Pacific, Allegro, Me And Juliet, Cinderella, Carousel and Oklahoma.

Now in the middle of its run, The Players’ Guild of Hamilton’s production of A Grand Night for Singing is a well-knit musical revue in which each element – vocals, music, movement and storytelling – weave together to produce a thoroughly entertaining few hours in the theatre. The cast has more than sufficient vocal chops and stage presence to do justice to all the old favourites from musicals like The King And I, South Pacific, Allegro, Me And Juliet, and Cinderella. Directed by long-time Guild members David Dayler and Randy Coutts, they say, “A Grand Night for Singing is a celebration of connection, storytelling, and the timeless power of music to bring people together.”

Whether you’re a musical theatre aficionado or new to the genre, there’s plenty of enjoyment to be had in this production and most will recognize at least some of the songs from their impact on popular culture alone. As The Players' Guild outlines in its press release, “A Grand Night For Singing is a musical revue that celebrates the music of Richard Rodgers and Oscar Hammerstein II, two of Broadway’s most legendary composers. Featuring songs from musicals like Carousel and Oklahoma, A Grand Night for Singing captures the essence of their iconic music while touching on themes of love, hope, and nostalgia.” 

With music by Rodgers, lyrics by Hammerstein II, and musical arrangements by Fred Wells, it was conceived by award-winning director Walter Bobbie more than 30 years after Rodgers and Hammerstein’s final collaboration, The Sound of Music (1959). It originally opened in March 1993 at Rainbow & Stars, then moved to Broadway in November 1993, choreographed by Pamela Sousa and with orchestrations by Michael Gibson and Jonathan Tunick at the Criterion Center Stage Right. A Grand Night for Singing earned two Tony Award nominations for Best Musical and Best Book of a Musical as well as a Drama Desk Award nomination for Outstanding Revue. Concord Theatricals calls it a “first-rate revue [that] offers a fresh and innovative take on the songs of Rodgers & Hammerstein.”

Indeed, Dayler and Coutts say in their program notes that their hope is to evoke both nostalgia and emotional immediacy by leaning into the very human desires and emotions these songs capture: “This production is not bound by a single narrative, but instead invites us into a shared emotional journey – one that reflects love, longing, humour, and hope.” Under musical direction by Brenda Uchimaru and stage management by Colleen Wray, with assistant stage management by Mike Durkacz, A Grand Night for Singing’s producer is Dan Penrose.

This is truly an ensemble piece, and each of the performers is equally strong and compelling. The cast includes Bethany Charters, Nicole Martin, Carolyn Campbell, Steven Andrews and Doug Massey. Charters is credited with choreography, while Martin serves as dance captain. The cast members appeared to be comfortable in each others’ company, and fully committed as a team to building a sense of story connected to each song. “At its heart, this show is about joy – the kind that comes from harmony, collaboration, and live performance.” The cast succeeds in creating a theatrical but amiable and comfortable environment where audiences are welcomed in to watch the performers play and banter. 

Additional body language and facial expressions are peppered throughout the show, with nods to the audience and pulled mouths and quirks of the eyebrow that added conversationality and humour to the songs. Campbell, Charters and Martin were particularly adept at this, sometimes to show how genuine they thought their suitors were being, other times to imply some hesitance with the nature of the courting and wooing they were receiving. “Our goal has been to highlight the intimacy behind these iconic songs…uncovering the personal stories within them,” directors Dayler and Coutts say, including “the quiet glances, the unspoken words, and the moments of vulnerability that make each number feel immediate and alive.” Success!

Onstage throughout the performance, the dedicated live musicians truly allow this production to flourish. They include Laura Pin (piano), Michael Pin (piano, clarinet), Oliver Peart (piano), and Lynne Jamieson (percussion), and they were note-perfect and beautifully synced with the vocalists. I rather wish they hadn’t been obscured from view and were included as further characters in the storytelling, but I understand the directors’ intention.

The set is a luxe and sophisticated multi-tier performance space with elegant seating and staging spots to build a sense of place for each song or vignette. Kudos to Dayler and Eileen McAnuff for their sense of esthetic and arrangement of a set in which the performers appeared to be comfortable moving. This was another goal achieved, as the director’s notes say, “the staging is intentionally fluid, allowing the performers to move seamlessly between ensemble and individual expression.”

The costuming was beautifully conceived with several outfits for each of the five cast members that were customized to suit them individually, their characters within the songs, and collectively. Credit is due to Carolyn Marshall, Kathleen Livingston, and Gloria Onishenko. The technical aspects of the show were superior, with lighting and sound going off without a hitch. Kudos to all those involved in coordinating a show with many moving parts and cues to consider.

“We hope this production feels both nostalgic and refreshingly present, reminding audiences why these songs have endured for generations.” The Guild’s production is a well crafted musical revue which will satisfy long-time fans of Rodgers and Hammerstein, and certainly launch new ones.

NEED TO KNOW

A Grand Night for Singing
Continues June 7, and 13, 2 p.m. and June 11, 12 and 13, 8 p.m.
The Players Guild Studio Theatre
80 Queen St. S., Hamilton
Tickets online here or box office: 905-529-0284
Runtime: 120 minutes, incl. intermission