Music department performs ‘A Little Night Music’
For two days only, members of the University of Indianapolis campus community had the opportunity to enjoy the music department’s production of Stephen Sondheim’s “A Little Night Music.” The two performances on, Feb. 10 and 11, were the culmination of students’ work in the Opera Workshop class. The group had been working on the production since last fall.
Mark Gilgallon, adjunct professor in the music department, served as director of the Opera Workshop and stage director for the production. He pointed out the unique challenges presented by the long-term collaborative project.
“[The students] have seen a monumental task come to completion,” Gilgallon said. “They have had to learn to play well with others. Preparing a musical demands teamwork from all those involved.”
The production was accompanied by student musicians led by James Caraher, artistic director of the Indianapolis Opera.
“Working with James Caraher was a huge privilege,” said junior music education major Katie Dunlap. “He was very knowledgeable of the pieces and knew what he wanted them to sound like.”
Dunlap played the role of Anne in the production, a young wife who finds that her marriage to an older man may be under fire because of his former affairs. Initially, Dunlap found it trying to perform a complicated vocal piece and a character role simultaneously.
“This is some of the hardest music that I have personally had to work on, and I am glad we started working on it so early,” she said. “Amy Eggleston [UIndy music coach and accompanist] did a wonderful job talking with each of us individually about our characters, the meanings of our songs, as well as learning our music. When it was finally time to put on the show, I felt as if I completely understood my character and was comfortable with my music.”
Gilgallon said that producing the performance presented difficulties.
“Opera in itself is larger than life,” he said. “Opera singers must learn to use their entire body to propel the voice hundreds of feet, often over a 40- to 60-piece orchestra without microphones.”
Gilgallon also pointed out that the Viennese recital hall design of Ruth Lilly Performance Hall presented additional challenges. The limited lighting options and lack of wing space made for a creative stage design.
“I wanted to use the entire hall, not just the stage, and played around with many different ideas,” Gilgallon said.
According to Dunlap, the rehearsals were stressful, but worth it.
“I know we all felt a little stressed when we got back to school,” she said. “But everyone pitched in and sacrificed a lot of time in order for the show to reach its full potential.”
