Study Guide - Elmira Little Theatre

3 Introduction 

Elmira Little Theatre Educational Study Guide 

A Little Night Music September 2012 

1

3 Introduction 

4 Production Information 

5 Making of a Musical 

11 Broadway Connection 

13 NYC Guest Artist 

15 Musical Information 

16 Characters 

17 Discipline Specific Connection Activities 

19 Discussion Questions After Seeing the Production 

23 Educational Events 

24 A Little Night Music Vocabulary 

25 Theatre Terminology 

27 Orchestra Instrumentation 

28 Careers in the Theatre 

30 Elmira Little Theatre 

31 Production Staff & Cast List 

32 Resources 



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Dear Teacher, 

Welcome to the Elmira Little Theatre Teaching Resource Pack for A Little Night Music. This resource is designed to 

use with high school and college students. 

We have created the following educational study guide to help make your students’ theater experience with A Light 

Night Music as meaningful as possible. For some, it may be their first time viewing a live theatrical production. We 

have learned that when teachers discuss the play with their students before and after the production, the experience 

is more significant and long-lasting. Our study guide includes information related to A Little Night Music and also 

provides pre- and post-production activities. These are just suggestions; please feel free to create your own activities 

and areas for discussion. 

Teachers can access the Elmira Little Theatre website for more information including the backstage blogs on 

Twitter and Tumblr. The backstage blog includes photos and videos of moments you wouldn’t normally see 

associated with a production. The interactive social media sites allow you and your students to view, share, and 

comment. 

We hope you and your class enjoy the lessons and activity ideas that support the show and that your visit to A Little 

Night Music is an unforgettable experience. For further details of the show, please visit our website at 

www.ElmiraLittleTheatre.org 

Joshua Streeter 

Theatre Director & K-12 Theatre Educator 

Outside Readers: 

Margaret Kasper Reed 

Roger Neumann 

Betsy Quinn 

Susan Tanner 

Interviews: 

Judith Born 

Josh Curren 

Jessica Ossiboff 

Daniel Roemmelt 

Billy Shaw 

Kevin David Thomas 

Debbie Troia 



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Elmira Little Theatre’s 

A Little Night Music 

Performances 

Clemens Center in Elmira, NY 

Friday, September 21 at 7:30pm 

Saturday, September 22 at 7:30pm 

Sunday, September 23 at 2:00pm 

Friday, September 28 at 7:30pm 

Saturday, September 29 at 7:30pm 

Sunday, September 30 at 2:00pm 

Tickets 

607-734-8191 

www.ClemensCenter.com 

Educational Events 

More information on educational events on page 23. 

Sunday, September 23 

Saturday, September 22 

Saturday, September 29 

Talkback after Performance 

Master Class with Billy Shaw 

Master Class with Billy Shaw 



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Making of a Musical: Meet the Directors 

Joshua Streeter and Nolan DeSanto first met in 2009 during a production of another Sondheim 

favorite, Into the Woods. The idea to direct A Little Night Music as a team was actually brought to 

the table by Nolan in the fall of 2011. He approached Josh about directing the musical and 

together they proposed the production to the Elmira Little Theatre play selection committee. 

Together the directors have worked on A Little Night Music since May 2012 to bring the 

production to fruition. 

Nolan DeSanto was a participant in the 2012 Theatre Music Director Master Classes moderated by 

David J. Hahn in New York City, and the Music Direction Intensive at Goodspeed Opera House 

in East Haddam, CT. He worked as a Collaborative Pianist at the Interlochen Center for the Arts 

in Interlochen, MI. 

Joshua Streeter currently serves as a theatre standards writer for the National Coalition for Core 

Arts Standards and holds two theatre education appointments for the Pennsylvania Department of 

Education. His work in educational theatre focuses on acting techniques and rehearsal methods for 

high school theatre directors. 

Nolan DeSanto 

Musical Director 

I oversee all musical endeavors on a production. One of the most critical portions of the job is 

finding the right voices for each role. The musical demands of Sondheim musicals are heavy and it 

is my job to assure that the cast and orchestra learn their music. I work closely with the stage 

director during rehearsals to help the actors interpret the text. Also I hire the orchestra members, 

and during the production will be conducting the orchestra. The musical director usually has 

assistance from a vocal coach or an assistant musical director. 

Joshua Streeter 

Stage Director 

The stage director is in charge of any action onstage. I work as a guide to put all the pieces of the 

production together. I collaborate with the designers to create a vision for the production that is 

consistent and clear. During rehearsals, I work with the actors to teach the blocking and helps the 

actors find the subtext and relationships that are present in each moment. The stage manager works 

closely with me to help keep track of what is happening, as once the show opens for an audience, 

the director’s work is complete. 



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Making of a Musical: Behind the Scenes 

Numerous individuals assist in putting a production together. Two members of the production 

team are the vocal coach and the stage manager. Jess Ossiboff and Judy Born both work behind the 

scenes, but their work is critical to the success of the production. 

Jess Ossiboff 

Vocal Coach 

As vocal coach, it is my task to guide cast members through their music, helping them to perfect 

their musical performances. While working closely with, and taking instruction from, the music 

director, I teach vocal and breathing technique, diction, phrasing and articulation as it pertains 

specifically to the show. 

My work on the show is evident to audience members as the actors are able to use their improved 

singing technique to seamlessly portray their characters through music. The goal of vocal coaching 

is to increase the confidence and skill of each performer, allowing them to realize their overall 

artistic and musical visions for their characters, as well as those of the director and musical director. 

Judy Born 

Stage Manager 

My role with the production is to essentially be the head traffic controller for the production and to 

adopt the director's overall vision of the show. Once the director has issued final notes to the cast, I 

will assume command of the physical stage area for the show. 

During rehearsals, my role is to record all blocking, prop usage, costume changes and entrances of 

all performers. I am also responsible for sign-in sheets for cast and crew confirming everyone's 

attendance at rehearsals and performances, attending production meetings, and compiling contact 

lists of cast and crew members. 

The audience sees my work by watching the show: I issue the "Places Everyone" to get the actors on 

stage, make sure the props are on set or given to the actor, coordinate the moving of sets and 

organize costumes. I confirm the musical director and orchestra, and light and sound people are 

ready to begin the show. Once the curtain rises, the audience sees my work through the seamless 

orchestration of an entertaining evening of fun. 



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Making of a Musical: Lighting Design 

Josh Curren 

Lighting Design 

The lighting of a show is often the least noticed design element by the audience, but it has a huge 

influence on how the audience perceives every other design element. Because lighting is used to 

support the other design areas and tie them all together, it is the last element that is incorporated 

into the show. A good lighting design can really tie a show together, but a bad lighting design can 

ruin the hard work of the other designers, actors, and director. The wrong gel color can completely 

change the color of the set, costumes, and the actors’ skin. 

This production has had strong collaboration between all of the designers and the director, which 

really helps the process. The first step is getting the set design, since the lighting must be designed 

to work with the set. After the set was designed, the director did a great job of blocking the set 

movement and acting areas for the entire show and documenting it. This was tremendously helpful 

in creating the light plot so that I know where each scene is taking place. A significant part of 

lighting design comes over the last few weeks before opening night. After the cast has learned the 

music, their lines, and their blocking, a “stumble through” is held, which gives me a rough picture 

of the show. At this point I begin to finalize light placements, gel color choices, and my list of cues. 

All of my preparation work finally comes to life about a week before opening when we “tech” the 

show. This is when we program every light cue into the computer. 

Any space you design in will have some sort of limitation or quirk that affects your design. Often it 

may be that a lighting instrument cannot be placed where you desired or the lighting instrument 

you wanted is not available. But Mandeville Hall has some major limitations that forced us to really 

narrow down the lighting to what is important. Initially the director and I had ideas for the lighting 

that easily could have had us using more than 150 lighting instruments. But in Mandeville Hall 

there are only 48 circuits. This forced us to pare down and think a bit harder about how to use the 

limited number of lights to uniquely define each of the locations within the play. 

I believe it was Broadway lighting designer Jules Fisher who said, “You never finish lighting a 

musical, but you must stop.” 



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Making of a Musical: Scenic Design 

Daniel Roemmelt 

Scenic Design 

Designing the set for Elmira Little Theatre’s A Little Night Music has been an especially rewarding 

experience because of the strong collaboration between the director, the master carpenter, lighting 

designer and the rest of the production team. 

I saw A Little Night Music on Broadway a few years ago; the temptation might be to imitate what 

had been done professionally. But Mandeville Hall in the Clemens Center presents a series of 

complex situations because of its “black box” theatre space and its small size. 

I specifically set out to create something that had never been done before. One of the first things I 

do is read the script. Usually while reading it I will get some ideas of how I think it is going to look. 

I don’t like to look at photos of other sets and productions of the play because I like to form my 

own vision. But with this production, I collected research in order to start the dialogue with the 

director. From these photos we started moving in a common direction. 

The play will always dictate what type of set it is going to be. If it is a strong play and you know the 

actors will be good, then you can get away with a more conceptual style set, or a minimal set. If the 

play is something like a farce and has many doors and windows, then you usually can’t do too 

much conceptually and a standard box type set has to be built. You have to fulfill the requirements 

of the play. If the play has lots of stuff in it, you have to live with that. Our challenge was to create 

a set that would fit the space like giant puzzle pieces. 



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Making of a Musical: Scenic Design 

Once the play is read, then I start doing a series of small “thumbnail sketch” drawings and working 

out stuff in my head. Usually that is the time to also talk to the director and find out if they have 

any specific requests for the set. Sometimes they might want, say, levels, so you will have to take 

that into account when you are designing it or they have specific ideas how the set will be used. 

After a series of group meetings, the final drawings are completed and these are approved and 

discussed. Then a final scale model is created. The model is used by the director to block the 

movement of the actors within the production. It is also used to communicate to the actors and to 

the various crew personnel. 

One important thing to remember the actors are the stars, not the set. If you design an outstanding 

set that outshines the actors, you haven’t done your job properly, I don’t think. If the audience is 

sitting there looking at your set, then either the play is very bad, or you have not designed a good 

set for that play. Luckily, this is an incredibly strong show on every level. So, my job was to make 

sure the set rose to this high standard created with this production. I have never been so fulfilled as 

a set designer as with this production. The director has been a true visionary who has led his 

creative team brilliantly. I truly feel the design has been a group effort with everyone on board with 

its execution. The set has been a team effort. It has moved from conversation, to sketches, to 

building, to painting, to set dressing, to the final set you see under lighting on stage with the actors. 



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Making of a Musical: Costume Design 

Debbie Troia 

Costume Design 

When I am asked to be the costume designer for a show, many elements come into play before 

I choose fabrics or cut out a pattern. 

First and foremost, my goal is to bring the director's vision to life. Josh and I spent many hours 

discussing design and color and looking through costumes that I had previously designed for a show 

of a similar time period and figuring out what direction to go from there. He had a color scheme in 

mind and knew the mood and emotion that he wanted to pull from each character and every 

scene. 

Secondly, I listen to the music and sit in on the read-through to get a feel for the personalities of 

the characters. Listening is more helpful to me than just reading the script on my own. Hearing 

their voices and visualizing the situation helps me decide what they might be wearing. 

The next step is research. If it is a specific time in history such as A Little Night Music, which takes 

place at the turn of the century, it is important to me to blend historical accuracy with the director's 

vision. Sometimes I will stray from historically accurate colors or fabrics to enhance a mood, 

situation, or character based on the script. The target audience also effects my decisions on color, 

design, and fabric choices. If it were a children's production, I would use lots of bright colors 

and contemporary fabrics such as lame or other metallic elements that would not necessarily be 

present if I were to simply focus on the time period. With A Little Night Music, my goal is to 

enhance all the other elements of the performance and to create a believable transition in time. 



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Broadway Connection 

Kevin David Thomas is a 1998 graduate of Elmira Free Academy 

(EFA). Kevin has appeared on Broadway in Les Miserables and A 

Little Night Music. He will be appearing in Rebecca, a new musical 

opening on Broadway in October. Kevin is a graduate of Baldwin- 

Wallace College and received the ELT Scholarship Award (formerly 

the Faye Epstein Award) presented by Elmira Little Theatre. 

An Interview with Kevin David Thomas 

How did you get your start locally in theatre? 

My family attended Park Church where I sang in choir, played hand bells, and studied piano with the musical 

director there, Thom Bohlert (genius man and organist). In 1995, a production of Godspell was going to be staged at 

the church. I decided I would audition (I was a freshman). I had never, ever auditioned or performed before, but I 

thought I'd try and see if this 'performing' thing was fun. I sang “Ten Minutes Ago” from Cinderella and I never 

heard from them afterwards. I assumed that it wasn't for me and I'd find something else to do. It wasn't until a 

couple weeks later that the director told me they forgot to call me but that she had a better opportunity for me. Her 

friend, Clare Reidy, needed a kid who could play the trumpet and could sing a little for Mark Twain, The Musical 

that she was directing (the final year of it at the Elmira College Domes). I auditioned for her and the composer and 

got the job. I was supposed to do one little scene of fake trumpet playing, but then they started putting me in all the 

scenes. Talk about learning on the job. It was my first experience on stage, and after that I tried to do every musical 

I could, which in the early 90's amounted to Elmira Free Academy (EFA) and Elmira Little Theatre (ELT). At EFA 

I did all the musicals from my sophomore year on- A Funny Thing Happened on the Way to the Forum, Fiddler on the 

Roof, Grease. At ELT I did Man of La Mancha, Funny Girl, and a very, very tiny part in the Heidi Chronicles. 

What advice would you offer for students interested in having a career in the theatre? 

Do every show you can. There is no good, bad, and ugly. It's all just learning and practicing being in front of people 

and telling a story. Any experience is a good experience. If there aren't any shows being done, do your own. Create 

your own. I'm always amazed that when people want something bad enough they will find ways of doing it. That 

goes double for show biz. Lots of actors here in NYC love to give dramatic advice to young performers. Like how 

difficult and tough it is and blah, blah. It can be, but it doesn't have to be. Like any business, it takes a lot of work 

and training. Fortunately for us, (unlike being, say, a doctor) you can start all that training from a young age. I 

started late (age 15), but students can learn on their own. Take voice lessons, dance class, acting class. Just watching 

clips online and seeing what works (and doesn't) are great learning tools. 



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Broadway Connection 

What are some of your favorite moments from A Little Night Music on Broadway? 

That whole experience was so incredible. If I were to pick highlights... Going to Sondheim's home for a cast party 

and talking to him about how we both collect records and showtunes (he alphabetizes his collection by composer, 

not show title)... Getting picked up on the street by Catherine Zeta and driven home (but we had to get out a block 

early because of her crazy paparazzi)... going on for Henrik for the first time and almost having a heart attack 

because I was so nervous.... and then there was the time that I flashed Zeta.... but that's another story. 

Why should audiences come see A Little Night Music? 

The thing I heard from people most after the show was, "I had no idea how funny it is." People are surprised at how 

elements of their own relationships are represented on stage, and how truthful they are shown despite the crazy 

circumstances. The whole idea of finding the person that you are supposed to be with and accepting that is a very 

important lesson. Putting value on love and the longevity of a relationship, and how sometimes compromise, work, 

and often sacrifices are needed to make it successful. When audiences see this wrapped in a little comedic bow, it has 

a real deep impact on them. Of course, at its most basic level they should come because it is a genius piece of theater 

with perfect characters, perfect story, and perfect songs (but I'm slightly partial...). 

We are raffling off two tickets to see Rebecca; what can you tell us about your 

next Broadway show? 

Ahhhh Rebecca, The Musical. Rebecca is based on the Daphne De Maurier novel 

(there is a Hitchcock film as well). I play Robert, the young butler. It's a big Euromusical 

on par with Les Miserable, Miss Saigon, and Phantom of the Opera. I believe 

it's had a level of success in Austria, Germany, and Japan, but it's never made it to 

New York yet. For this Broadway production, they've hired a whole new team to 

direct and stage the show. I start rehearsals September 10 th . It is a bit of a 

psychological thriller of sorts. The main character lives under the shadow of her new 

husband's deceased wife (Rebecca) who mysteriously died in a boating accident. 

Now living in the large manor (Mandalay) with him and the servants, the truth 

eventually makes itself known. 



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NYC Guest Artist 

Billy Shaw (Henrik Egerman in Elmira Little Theatre’s A Little 

Night Music) is a native of Towanda, Pa. He is thrilled to be 

joining the ELT cast of A Little Night Music! Some favorite 

credits include: The US National Tour of Camelot, Sweeney Todd 

at Barrington Stage Company, Pippin/Kiss Me Kate/How To 

Succeed In Business Without Really Trying at the Depot Theatre. 

With the Actors Corps Billy has performed in over 10 

productions at the Metropolitan Opera in New York's Lincoln 

Center including La Boheme, Turandot, and AIDA. As a 

production singer for Holland America Line/Stiletto 

Entertainment, he travelled to 6 continents and over 40 

countries. Billy studied opera performance at the University of 

the Arts in Philadelphia and is a '04 graduate of the American 

Musical and Dramatic Academy in New York City. 

An Interview with Billy Shaw 

Describe some of your favorite experiences in theatre. 

Travel is one of my greatest loves. Being able to perform and travel all over the world has been a great blessing and 

privilege. Singing at Notre Dame in Paris and the Basilica of St. Mark’s in Venice were also amazing experiences. 

Shaking Stephen Sondheim’s hand after a performance of Sweeney Todd in Pittsfield, Massachusetts, definitely takes 

the cake! 

What advice would you offer for students interested in having a career in the theatre? 

Never stop learning. Take every class. Go see every show. Immerse yourself into the World of Theatre. As an actor, 

your career is EVER changing. It’s important to stay fresh. Complacency has no place in this World. 



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NYC Guest Artist 

What do you find interesting or intriguing about your character? 

His unending battle between good and evil (or what he THINKS is good and not). I also find his complete and 

utter seriousness so incomparably hilarious- hahaha! 

What are some things you did to prepare for your role? 

First, I researched A Little Night Music online and using the materials provided by the director. I listened to three 

cast recordings before completely learning the score. Then I watched the Elizabeth Taylor movie as well as Smiles of 

a Summer Night on which this story is based. When reading the complete libretto I monologued every song I was in. 

I find most of my acting moments through the monologue of a musical number. The music comes second. 

What is challenging about playing Henrik? 

Keeping his utterly brooding tone. As a character actor I am often the comic relief. This is not untrue in A Little 

Night Music, but the whole tone is different. His seriousness is where the comedy derives. It is also difficult in life to 

UN-know. I’d like to think I know more of the world than Henrik did in the early 20 th century (though I most 

likely do NOT). 



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Musical Information 

What is A Little Night Music? 

The musical takes place at the turn of the 20 th century during the height of the Swedish summer, which is indicated 

by the “white night”. The white nights affect human sleeping patterns as the sun never sets and the sky never grows 

completely dark. The production is about the tangled web of relationships among the social nobility. The musical 

plot centers around the stage actress Desiree Armfeldt and her love affairs with two married men, Carl-Magnus 

Malcolm and Fredrik Egerman. Carl-Magnus is married to the witty yet devoted Charlotte Malcolm and Fredrik to 

the naïve Anne Egerman. The relationships are further complicated by the Egermans’ maid, Petra, and Fredrik’s 

son, Henrik, who is in love with his father’s young wife, Anne. The Armfeldt matriarch, Madame Armfeldt, oversees 

the raising of Desiree’s daughter, her grandchild, Fredrika. A Little Night Music boasts one of Stephen Sondheim’s 

most famous scores, yet is a rarely done production. This period musical operetta masterfully blends farce with a 

luscious score. The Swedish film “Smiles of a Summer Night” by Ingmar Bergman provided the source material for 

Wheeler and Sondheim. This musical is appropriate for audiences age 12 and up. 

Fascinating Facts about A Little Night Music 

• A Little Night Music Opened on Broadway, in 1973. 

• A Little Night Music was revived only once on Broadway, in 2009. 

• Most famous song from A Little Night Music is “Send in the Clowns”. 

• The A Little Night Music score is composed entirely in 3/4 time. 

• “A Little Night Music” is a literal English translation of the German name for Mozart's Serenade No. 13 for 

strings in G major, Eine kleine Nachtmusik. 

• Rarely done, Elmira Little Theatre’s A Little Night Music is one of only twenty presented through Musical 

Theatre International (licensing company) this year. 

Who is Sondheim? 

Stephen Sondheim is the composer and lyricist of A Little Night Music. Sondheim is one of the most revered writers 

in musical theatre. His works include West Side Story, Into the Woods, Sweeney Todd, and Sunday in the Park with 

George. The composer writes the music and the lyricist writes the words to accompany the music. In this case, 

Stephen Sondheim executed both jobs. The composer has the job of creating a musical motif for the production 

that ties the entire show together. The lyricist functions as a poet and a playwright, attempting to achieve forward 

movement of the plot and developing a character. 

Who is Hugh Wheeler? 

Hugh Wheeler is the playwright (book writer) for A Little Night Music. Wheeler has worked on several projects with 

Sondheim, including Sweeney Todd. The playwright writes the story and the dialogue in the scenes, working on 

successive drafts of the show with the rest of the production team. The book writer also indicates the stage 

directions, which are notation from the original production that indicate the action of the production. The job of an 

actor is to then interpret and play the text in order to bring the character to life and make the situations believable. 



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Characters 

Desiree Armfeldt 

A glamorous actress 

Fredrika Armfeldt 

Daughter of Desiree 

Madame Armfeldt 

Mother of Desiree 

Fredrik Egerman 

Married to Anne, Suitor of Desiree 

Anne Egerman 

Teenage Wife of Fredrik, Courted by Stepson Henrik 

Henrik Egerman 

Son of Fredrik, In Love with Anne 

Count Carl-Magnus Malcolm 

Married to Charlotte, Suitor of Desiree 

Countess Charlotte Malcolm 

Married to Carl-Magnus, Jealous of Desiree 

Who are the Liebeslieder Singers? 

The Liebeslieder Singers are a group of five singers (Mr. Linquist, Mr. Erlanson, Mrs. Segstrom, Mrs. Anderssen, 

and Mrs. Nordstrom) who are active participants in the production. The singers give advice and opinions, ask 

questions, and take part in the action of the show while setting the mood and heightening tension. The Liebeslieders 

are the most vocally demanding roles in the production and are an essential piece of the dramatic form. 

“I got the idea that they might represent the positive spirits in a negative household. The five Liebeslieder people are 

secure. Perhaps they are operetta singers, optimistic, extroverted observers. Each is a personality; each has a response 

to the events of the evening. No two are alike. They make the piece accessible because they lead the audience into 

it.” – Hal Prince, Original A Little Night Music Director 



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Connection Activities 

Language Arts 

• Before reading the play: 

o Study the genre of farce and list the genre’s attributes. 

o Interpret and study the following passage: “The summer night smiles three times at the follies of 

human beings. The first smile smiles at the young, who know nothing. The second, at the fools who 

know too little. And the third at the old who know too much.” 

o Take the lyrics of a song from the production and find poetic components in the piece. 

• After reading the play: 

o Plot out the dramatic structure of the play using Freitag’s story elements. 

o Re-read the play-within-a-play and find the symbolic and psychological significance for the 

characters in the musical (Desiree, Fredrik, Carl-Magnus, Charlotte, and Anne). 

o Write out Desiree’s journal entry in act two (after “Send in the Clowns” Fredrik states he should 

have never come to the country, we see Desiree writing in a journal before the finale of the show). 

History 


o Research the historical events taking place at the turn of the 20 th century and create a newspaper 

article. 

o Research other current or recent Broadway musicals whose source material was first a film (Once, 

Lion King, Billy Elliot, Thoroughly Modern Millie, Hairspray, Ghost, and Sister Act). 

o Research the Swedish summer and “white nights” and locate on a map where the “white nights” can 

occur during the summer months. 


o Find cultural and historical references in the script; look up their meaning to better understand the 

conversation the characters are having. 

o Create a timeline by researching the production history of the show online. 

o Study Ingmar Bergman and watch Smiles of a Summer Night; compare the source material to the 

play. 



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Connection Activities 

Music 

• Before listening to the score: 

o Listen to and research waltz music. 

o Listen to and study different instruments used in the orchestration. 

o Listen to and compare and contrast various cast recordings of the same production number. 

• After listening to the score: 

o Identify the songs that represent 18 th and 19 th century generic forms (waltz, mazurka, sarabande, 

polonaise, etude, and gigue). 

o Find the songs that are revived in the score and compare them musically to their original 

counterpart. 

o Study the style and structure of an operetta, then compare and contrast the score of A Little Night 

Music to Passion and Sweeney Todd; Sondheim used conventions of an operetta in creating the scores 

for all three pieces. 

Drama 


o Research different roles and responsibilities within a production company. Create a production 

company within your classroom. Compare and contrast large-scale for-profit theatres with 

community theatres. 

o Explore the text of a song from A Little Night Music and score it as you would a monologue. 


o Create a character map that includes how the characters are connected to one another and words 

that describe each character, list themes and symbols found within the play, and create a unifying 

principle. 

o Block the dinner scene (Act II, Scene 4) from the play. Explore focus, intent, and dramatic structure. 

Visual & Graphic Art 


o Collect images from previous productions and find similarities and differences. 

o Look at poster designs for current Broadway productions; compare those with poster designs from 

previous decades. 

o Study color theory and apply it to lighting, set, and costume design. 


o Create your own poster for the show. 

o Create a costume that embodies the personality of one of the characters. 

o Create a model set for one scene of the production. 



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Discussion Questions 

Exploring the Musical through the Characters 

1. What role do the Liebeslieder singers play in the action of the story? 

2. How does the coupling of characters change from the beginning of the story to the end? 

3. What commonalities do you see between Madame Armfeldt, Desiree, and Fredrika? 

4. How do you see the battles of the sexes played out between Carl-Magnus and Charlotte? 

5. What similarities exist between the parent-child relationships of Fredrik and Henrik and Desiree and Fredrika? 

What differences exist? 

6. How do the servants function as a body of knowledge within a house? How do Frid and Petra exemplify this? 

Exploring the Musical through Critique 

1. What characters were most believable? Why? 

2. What were some of the most vivid images you recall from the production? 

3. How did the production keep your interest? 

4. How did the production keep up the pace? 

5. Were there any unique bits (situational comedy, dramatic moments, pathos)? 

6. Would you recommend this show to others? Why or why not. 

Exploring the Musical through Perspective 

1. Read the director’s note in the program. How did the director’s note help you understand the production? What 

limitations exist if a director relies solely on a director’s note to explain the concept of the production? 

2. Backstage is bustling with silent movement to get the set and actors ready for the next scene. Doug Born, assistant 

stage manager, had the job of preparing and checking items backstage to ensure that they are ready to go onstage. 

What do you think were some of Doug’s duties backstage? What quick changes did you notice that could have been 

problematic? How is stage management the “spine” of the running show? 

3. This production had a live orchestra located on a different stage in the building. The actors saw the conductor 

through a television monitor. What challenges do you think this presented for the conductor and the actors? What 

are some of the advantages to housing the orchestra on a different stage? 



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Exploring the Musical through Themes 

The young, the foolish, the wise: 

1. Madame Armfeldt says, “Of course the summer night smiles. Three times (at the follies of human beings). The 

first smile smiles at the young, who know nothing. The second, at the fools who know too little. And the third at 

the old who know too much.” What characters exemplify the young, the fools, and the old? How do each 

character’s words and actions display their associated trait? How does Henrik’s attempt to hang himself and 

Fredrik’s misses in Russian roulette quietly aid in demonstrating foolishness? 

2. In what ways do Petra and Fredrika share sensibilities to feeling alive? What do these two characters say or do in 

the play tells you that they have a zest for life? What lessons about life have Petra and Fredrika learned from the 

societal players around them? 

3. In the musical the trio, “Now, Soon, Later” (Fredrik, Henrik, and Anne), explores each characters hidden desires 

and conflicts in inner monologues. Although no solutions are reached through the musical song, the audience has 

time to connect emotionally with the characters fight over the power of human desire. Describe how Fredrik, 

Henrik, and Anne are dependent upon each other for fulfillment of their desires. At this point in the musical plot, 

would you describe the characters as young, foolish, or wise (or a combination) and why? Compare these 

classifications to the characters in act two. Do they remain the same or does it change? 

Reflection: 

1. Before the action begins, an elaborate waltz takes place (the dance has applications to what comes later in the 

plot). How does the waltz illustrate the plot that unfolds? How does the waltz connect to the theme of reflection? 

2. The Liebesliders sing the song “Remember” multiple times through act one and then reprise the leading players 

songs in act two. How do the Liebesliders serve as a mirror in the context of the plot? Do you think the Liebseliders 

also serve as a mirror for the audience? 

3. Desiree and Fredrik refer to their past relationship together. How do they use their history with one another to 

move forward? Where in the production do you see Desiree and Fredrik make a choice to rekindle the romance they 

once shared, pursue their relationship further, or attempt to abandon it? Do you feel Desiree, Fredrik, and Fredrika 

will truly be a functional family? 

4. In the play-within-a-play Desiree plays a woman who steals the hearts of married men everywhere. The actress 

states, “We women have the right to commit any crime toward our husbands, our lovers, our sons, as long as we do 

not hurt their dignity. We should make men’s dignity our best ally and caress it, cradle it, speak tenderly to it, and 

handle it as our most delightful toy. Then a man is in our hands, at our feet, or anywhere else we momentarily wish 

him to be.” How does the role Desiree plays in Woman of the World (the play-within-the-play) align with the role 

Desiree plays in real life? When does Desiree fully realize that the role she plays onstage mirrors the situation of her 

life? How is the notion of dignity (as explained within the play) echoed in Charlotte’s interactions with Carl- 

Magnus? At any point within the plot does Desiree handle Fredrik in a way to help preserve his dignity? 



20


Exploring the Musical through Music 

1. The number three was used in composing pieces of the score to help emphasis the pattern of interrelationships. 

Sondheim used waltzes in triple time in the style of the turn-of-the-century Viennese operettas. Look at the text for 

“You Must Meet My Wife,” “It Would Have Been Wonderful,” and “Everyday a Little Death”: how is the number 

three still used in these songs? 

2. “A Weekend in the Country” is a plot song. How does this song both move the plot forward and aid in character 

development? Why does the accompaniment need to drastically shift when Henrik enters? How did the staging of 

this musical number align with the build of the music? 

3. Unlike other musicals, this production uses little choreography in musical numbers to tell the story. Directors of 

A Little Night Music often use stage pictures. How did using a tableau (stage picture) help the audience understand 

the text and subtext of the song? 

4. Below are lyrics for two songs that were cut from the original production. Why do you think these songs were 

cut? Was the essence of the character still present without these solo songs intact in the production you saw? Do you 

see the themes of the production present in the lyrics? 

Silly People- Frid 

(selected portion of the song) 

Lie here with me on the grass 

Let the wind be our words 

As the night smiles down 

Don’t they know, don’t they? 

No, they don’t, do they? 

Silly people, silly people… 

Voices glide by, let them pass, 

Let them float in their words 

Till they slowly drown 

Don’t they know, don’t they, 

What they want? 

My Husband the Pig – Charlotte 

(selected portion of the song) 

Fop. 

Lout. 

What am I, a prop 

To order about? 

Adulterous lowlife! 

He seems to assume I have no life 

Of my own. 

Well, he isn’t alone! 

My husband the pig 

I worship the ground 

That he kicks me around on, 

The pig. 

Silly, silly people. 

Patient and polite, 

Crying in their teacups, 

Shying from the night. 

When now it smiles, 

It smiles for lovers, 

When next it smiles, 

It smiles for the fools. 

The last it smiles for them, 

The others, 

The remembers, 

The truly silly people. 



21


Exploring the Musical through Design 

1. The clothing we wear reflects our personality. The same is true of the clothing that is designed for a character in a 

show. Look at the costumes the designer made for Anne, Charlotte, and Desiree. How do the costumes reflect each 

character’s traits? How do the colors and accents used fit their personality? In what ways were Liebeslieders 

costumed to fit their role within the production? How were the social classes reflected in the costume design of the 

production? 

2. The lighting for the show included a lit backdrop called a cyclorama. The lighting designer chose to color the 

cyclorama to enhance each scene. Describe some of the scenes you remember and discuss how the colored light 

helped create the atmosphere onstage. Compare and contrast the colors used on the cyclorama for interior scenes 

verses exterior scenes. What other lighting effects did you see used in the production that helped give texture to the 

playing space? 

3. The set included eleven rolling platforms used in a multitude of way throughout the production. How were the 

same set pieces used in different ways to create interior and exterior scenes? In what ways did the movement of the 

set pieces help clarify the action of the plot? The set pieces were created with open spaces intentionally; discuss the 

relationship between the lighting design and the set design. In what ways did you see the design of the lights 

working in tandem with the design of the set? 

4. The show poster was aimed to reflect the visual design of the production. What elements of the poster did you see 

in the production? Do you feel the poster was an accurate representation of the visual impact of the production? 

What other elements of the production could have been pulled into the poster design? 



22

Educational Events 

Talkback with Designers, Directors, & Cast 

September 23, 2012 

Do you have questions to ask the cast, designers, or directors? A talk back is a fifteen-minute postshow 

discussion lead by an Elmira Little Theatre facilitator. Audience members are able to ask 

questions about the design, the rehearsal process, or about what they saw onstage. Join us for a 

behind-the-scenes discussion with the actors and creators after the Sunday, September 23 rd 

performance. The talk back will be held in the same location as the production, Mandeville Hall in 

the Clemens Center. 

Musical Theatre Master Class with Billy Shaw 

September 22, & 29, 2012 at 11:00am and 2:00pm 

Do you want to learn more about musical theatre? Attend an interactive workshop for musical 

theatre performers and directors led by NYC guest artist and actor Billy Shaw. The master class is 

open to high school students and adults of any age. Each class is an hour and a half long, which will 

include coaching a song, a question-and-answer session, and a solo piece performed by Billy. 

Some attendees will have the opportunity to work with Billy on deconstructing a song and then 

building it back up to be performed. If you are interested in participating as a student please bring 

sheet music to sing in the correct key and have the piece memorized. Depending on amount of 

workshop attendees and time, not all individuals prepared will be able to perform. (You do not 

have to perform to attend the workshop, we welcome anyone interested in musical theatre to 

attend.) 

Cost is $20 per person. The master class will take place at the Elmira Little Theatre building 

(100 Laurel St., Elmira, NY 14902). 



23

Vocabulary 

Alderman 

Ameliorate 

Blow Dart 

an elected member of a municipal council 

make (something bad or unsatisfactory) better 

a simple weapon consisting of a small tube for blowing darts 

Bohemian 

Charade 

Chateau 

Cravat 

Dragoon 

Garden Roller 

Hip-Bath 

Liaison 

Liebeslieders 

Manifesto 

Penchant 

Purgatory 

Quiver and Bow 

Rancor 

Rapier 

Ruses and Stratagems 

Succumb 

a person who has informal and unconventional social habits, especially an artist or 

writer 

an absurd pretense intended to create a pleasant or respectable appearance 

a large French country house or castle often giving its name to wine made in 

its neighborhood 

a short, wide strip of fabric worn by men around the neck and tucked inside 

an open-necked shirt 

a member of any of several cavalry regiments in the British army 

a barrel filled with water or sand used to level the ground 

a portable bath large enough to sit rather than lie down in 

a sexual relationship, especially one that is secret and involves unfaithfulness to a 

partner. 

the name of the Greek chorus in the musical 

a public declaration of policy and aims 

a strong or habitual liking for something or tendency to do something 

mental anguish or suffering 

a holder for archery bows, sometimes with a strap to harness 

bitterness or resentfulness, especially when long-standing 

a thin, light, sharp-pointed sword used for thrusting 

a plan to deceive or outwit an individual 

fail to resist (pressure, temptation, or some other negative force) 



24

Theatre Terminology 

Action 

Artistic Choices 

The core of a theatre piece; the sense of forward movement created by the sense of 

time and/or the physical and psychological motivations of characters. 

Selections made about situations, action, direction, and design in order to convey 

meaning. 

Artistic Collaboration 

People working together to make artistic choices. 

Creative Drama 

Design 

Drama 

Dramatic Activities 

Elements 

Ensemble 

Environment 

Forms 

Improvisation 

Production 

Production Concept 

Role 

The act of creating character, dialogue, action, and environment for the purpose of 

exploration, experimentation, and study in a setting where there is no formal 

audience observation except for that of fellow students and teachers. 

The conceptualization of the visual and aural properties of theatrical production. 

A representation of life improvised in dramatic activities or portrayed on a stage by 

actors before an audience; a piece of writing intended for stage presentation; conflict, 

tension, emotional intensity. 

Such activities as pantomime, creative movement, improvisation, creative drama, 

storytelling, choral reading, story dramatization, dramatic play, story theatre, reader's 

theatre, role playing, and theatre games. 

The concepts of plot, character, theme, dialog, music, spectacle, and style which, 

when taken together, comprise the theatrical experience. 

The dynamic interaction of the many people involved in the dramatic activity in 

which the whole is more than the sum of its parts. 

Physical surroundings that establish place, time, and atmosphere/mood; the physical 

conditions that reflect and affect the emotions, thoughts, and actions of characters. 

Comedy, tragedy, melodrama, farce, absurd, social drama, epic drama, guerrilla 

theatre, experimental theatre. 

An intuitive and immediate response, rather than behavior, that is rehearsed. The 

spontaneous use of movement and speech to create a character or object in a 

particular situation. 

A general term referring to the staging of a dramatic activity. 

A vision the director develops about the meaning and significance of play. 

The characteristic and expected social behavior of an individual in a given position 

(e.g., mother, employer). Role portrayal is likely to be more predictable and onedimensional 

than character portrayal. 



25

Theatre Terminology 

Script 

Spectacle 

Structure 

Subtext 

Technical Production 

Tension 

Theatre 

Theatre Games 

The written dialogue, description, and directions provided by the playwright. 

Includes all visual elements of a production (scenery, properties, lighting, costumes, 

makeup, physical movement, and dance). 

The terms, beginning, middle, and end as the progression of a situation. 

The emotional and motivational content of dialogue which is not verbalized, but is 

expressed through non-verbal means. 

Activities such as scenery construction and painting, properties selection and 

construction, lighting control, sound reinforcement, costume construction, among 

other reinforcements that form the visual and aural properties of theatre. 

The atmosphere created by unresolved, disquieting, or inharmonious situations that 

human beings feel compelled to address. 

The discipline and art form that culminates in a dramatic presentation by actors, 

designers, and technicians on a stage or in a planned environment for an audience of 

onlookers. The term can also refer to the building designed for formal theatre 

presentations. 

Structured improvisational activities having prescribed set of rules and expectations, 

frequently used for warm-up, motivation, and exploration of sub text. 



26

Orchestra Instrumentation 

Reed I - Flute, Piccolo, Alto Flute 

Reed II - Clarinet, Flute 

Reed III - Bass Clarinet, Clarinet 

Reed IV - English Horn, Oboe 

Reed V - Bassoon, Clarinet 

Horn 1 & 2 

Horn 3 

Trumpet 1 & 2 

Trombone 

Percussion 

Piano/Celeste 

Harp 

Violin I and II 

Viola 

Cello 

Bass 



27

Careers in the Theatre 

Administrators 

• Company Management 

• Tour Management 

• Marketing & Publicity 

• Fundraising & Development 

• Educational Programming 

• Financial Administration 

• Community Arts Council 

• Festival Organizers 

• Artist’s Representative or Agent 

• Producing 

• Facility Management 

• Front-of-House Management 

• Concessions 

• Ushers 

• Retail 

• Security 

Creators 

• Playwright 

• Composer 

• Music Arranger 

Directors & Producers 

• Director 

• Producer 

• Independent or Freelance 

• Festivities and Spectacles 

• Artistic Director 

• Assistant 

• Casting 

• Commercial 

• Industrials 

Performers 

• Dinner Theatre 

• Stock or Repertory Theatre Companies 

• Summer Theatre Companies and Festivals 

• Night Clubs 

• School Performances 

• Independent or Freelance 

• Advertising 

• Industrials 

• Amusement Parks and Tourist Attractions 



28

Careers in the Theatre 

Teachers 

• Private Studios 

• Public or Private School Systmes 

• Colleges and Universities 

• Conservatories 

• Recreational and Community Centers 

• Company Teaching 

• Rehearsal Directors 

Technical Personnel 

• Lighting Design 

• Sound Design 

• Set Design 

• Costume Design 

• Stage Management 

• Technical Direction 

• Lighting and Sound Operation 

• Carpentry 

• Electrician 

• Painting 

• Wardrobe Management 

• Cutters and Sewers 

• Millinery 

• Wig Makers 

• Shoemakers 

• Properties 

Therapy 

• Drama Therapy 

Writing & Criticism 

• Journals 

• Newspapers 

• Magazines 

• Biographies 

• Historical 

• Academic 

• Publicity and Promotion 

• Development 



29

Elmira Little Theatre 

Elmira Little Theatre, known also as ELT, has been in existence since 1944. ELT is a resident 

company of the Clemens Center. Elmira Little Theatre has a long history of bringing together 

community members of all ages and levels of experience to put on a show. With each show, 

residents of the Twin Tiers step forward to work behind the scenes as well; roles include stage 

managers, directors, designers, painters, costumers, and stage crew. In addition to putting together 

productions, ELT also offers classes and workshops in music, theatre, and dance. Elmira Little 

Theatre offers scholarships and awards to high school theatre students. Each year students, adults, 

and seniors can sign up to be members of ELT. Membership is available for as low as $10. ELT also 

offers a membership package that includes season tickets. 

Facebook is the new theatre callboard. Join the Elmira Little Theatre Facebook page to learn about 

the latest classes and workshops offered by ELT as well as audition announcements and special 

events. Facebook includes connections to friends of the organization. 

Mission Statement: 

Elmira Little Theatre is an established, self-sustaining, not-for-profit organization dedicated to 

promoting theater arts in the Twin Tiers by providing diverse, high-quality entertainment while 

offering opportunities for community involvement and education. 

Website: 

www.ElmiraLittleTheatre.org 

2012-2013 Season: 

A Little Night Music 

Private Lives 

Moon Over Buffalo 

Anything Goes 



30

Production Staff and Cast 

Elmira Little Theatre A Little Night Music Production Staff 

Stage Director………………………………………………………………………………………..Joshua Streeter 

Musical Director……………………………………………………………………………………Nolan DeSanto 

Vocal Coach…………..……………………………………………………………………………..Jessica Ossiboff 

Stage Manager…………………………………………………………………….……...……………..Judith Born 

Assistant Stage Manager………………………………...……………………………….………………Doug Born 

Producer……………………………………………………………………………………………..Anne Guzman 

Set Designer……………………………….……………………………………………………..Daniel Roemmelt 

Costume Designer……………………………...…………………………………………….……….Debbie Troia 

Lighting Designer………………………………………………………………………………...…..Joshua Curren 

Properties Designer………………………………………………………………………………..…Maggie Wayne 

Dance Captains………………………………………………..…………………….…Emily Roe, Jeffrey Mathews 

Logo, Poster, & Digital Design……………………………………………………………………..Nolan DeSanto 

Educational Outreach Coordinator………………………………………………………………..…Joshua Streeter 

Elmira Little Theatre A Little Night Music Cast 

Desiree Armfeldt……………………………………………………………………………………..Janice Slocum 

Fredrika Armfeldt……………………………………………………………………..………..Emily Grace Davies 

Madame Armfeldt……………………………………………………………………………Margaret Kasper Reed 

Count Carl-Magnus Malcolm…………………………………………………………….…….………Jose Gomez 

Countess Charlotte Malcolm……………………………………………………………………....……Jean Coons 

Fredrik Egerman………………………………………………………………………..………..……Shayne Jones 

Henrik Egerman………………………………………………………………………………………….Billy Shaw 

Anne Egerman………………………………………………………………………..……………Carlyn Grebleski 

Petra…………………………………………………………………………………………….…Liz Schlickbernd 

Mrs. Nordstrom…………………………………………………………………………...……..…Marianna Raho 

Mrs. Anderssen…………………………………………………………………………..………………Emily Roe 

Mrs. Segstrom…………………………………………………………………………...……………Susan Tanner 

Mr. Erlanson/Henrik Understudy …………………………………………………………………Jeffrey Mathews 

Mr. Lindquist……………………………………..………………………………...………………Kevin Greuber 

Frid/Page………………………………………………………...…………………………………Brian Schuehler 

Osa/Actress……………………………………...………………………………….…………………Debbie Troia 

Malla/Actress………………………………………………………………….…………………………Gail Lewis 



31

Resources 

Art Isn't Easy: The Theater of Stephen Sondheim by Joanne Gordon 

Finishing the Hat by Steven Sondheim 

Look, I Made a Hat by Steven Sondheim 

Sondheim on Music: Minor Details and Major Decisions by Mark Eden Horowitz 

Stephen Sondheim: A Casebook edited by Joanne Gordon 



32

Study Guide - Elmira Little Theatre

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