Blab Music
Bob Dylan Reflects on Age as Trump Turns 80; Duluth Opera Company Brings Sondheims A Little Night Music to Campus
When the New York Times ran a brief interview with Bob Dylan on the morning of former President Donald Trump’s 80th birthday, the 85‑year‑old folk icon seized the moment to weigh in on the nature of time. “When you’re young, you think that time moves forward. At 80, you know that it doesn’t; it stands still. We’re the ones that move,” Dylan said, a comment that critics read as a subtle jab at Trump’s perceived lack of experience.
Just a few days later, the Lyric Opera of the North (LOON) staged Stephen Sondheim’s 1973 musical A Little Night Music at the University of Minnesota Duluth’s Marshall Performing Arts Center. The two‑performance run, held on Sunday, 12 June, was helmed by director Robert Neu and conducted by Patrick Russell.
The production drew on local talent, with Sarah Lawrence—who also serves as LOON’s co‑artistic director—taking the title role of Desirée. Lawrence’s husband, Calland Metts, portrayed Fredrik, and their daughter, Giulia Calland, stepped into the part of Frederika. The cast also included Linda Kelsey as Madame Armfeldt and Jeffrey Madison as the butler Frid. Neu’s staging let the performers explore the musical’s blend of farce and melancholy, while Russell’s interpretation highlighted the contrast between its light‑hearted moments and underlying themes of regret and longing.
Costume designer Ora Jewell‑Busche created a “Scandinavian summer” atmosphere, and the second act’s white‑clad ensemble produced a striking visual effect described as an “explosion of white.” The show’s conclusion—marked by a celebratory glitter moment from Kelsey—was framed as a “celebration of ascension” rather than a conventional happy ending, according to the article.
Audience reactions were noted in the coverage. The performance of Sondheim’s signature number “Send in the Clowns” drew audible sniffles, while the overall run was praised for its emotional depth.
In a pre‑run interview with the News Tribune, Lawrence said the musical “concludes on a hopeful note as everyone lands where they need to land.” Her remarks positioned the production as a reflection on the passage of time, echoing the themes expressed in Dylan’s comment.
The production closed on 12 June, but LOON announced that it will return to Sondheim’s work on Saturday, 3 October, at Denfeld High School. The upcoming show, titled Bernstein & Sondheim: Regards to Broadway!, will feature a different program but will continue to showcase the company’s commitment to classic musical theatre.
The A Little Night Music production at Duluth’s Marshall Performing Arts Center illustrates how regional opera companies can adapt complex works for local audiences. By employing a cast of family members and local talent, LOON created a production that was both intimate and professionally staged.
The performance is part of a broader trend of regional companies revisiting Sondheim’s catalog, offering audiences a chance to experience his music outside of the major metropolitan centers.
In summary, Dylan’s age‑related reflection and LOON’s staging of A Little Night Music together highlight how artists and companies engage with themes of time, legacy, and community in the contemporary musical landscape.
Just a few days later, the Lyric Opera of the North (LOON) staged Stephen Sondheim’s 1973 musical A Little Night Music at the University of Minnesota Duluth’s Marshall Performing Arts Center. The two‑performance run, held on Sunday, 12 June, was helmed by director Robert Neu and conducted by Patrick Russell.
The production drew on local talent, with Sarah Lawrence—who also serves as LOON’s co‑artistic director—taking the title role of Desirée. Lawrence’s husband, Calland Metts, portrayed Fredrik, and their daughter, Giulia Calland, stepped into the part of Frederika. The cast also included Linda Kelsey as Madame Armfeldt and Jeffrey Madison as the butler Frid. Neu’s staging let the performers explore the musical’s blend of farce and melancholy, while Russell’s interpretation highlighted the contrast between its light‑hearted moments and underlying themes of regret and longing.
Costume designer Ora Jewell‑Busche created a “Scandinavian summer” atmosphere, and the second act’s white‑clad ensemble produced a striking visual effect described as an “explosion of white.” The show’s conclusion—marked by a celebratory glitter moment from Kelsey—was framed as a “celebration of ascension” rather than a conventional happy ending, according to the article.
Audience reactions were noted in the coverage. The performance of Sondheim’s signature number “Send in the Clowns” drew audible sniffles, while the overall run was praised for its emotional depth.
In a pre‑run interview with the News Tribune, Lawrence said the musical “concludes on a hopeful note as everyone lands where they need to land.” Her remarks positioned the production as a reflection on the passage of time, echoing the themes expressed in Dylan’s comment.
The production closed on 12 June, but LOON announced that it will return to Sondheim’s work on Saturday, 3 October, at Denfeld High School. The upcoming show, titled Bernstein & Sondheim: Regards to Broadway!, will feature a different program but will continue to showcase the company’s commitment to classic musical theatre.
The A Little Night Music production at Duluth’s Marshall Performing Arts Center illustrates how regional opera companies can adapt complex works for local audiences. By employing a cast of family members and local talent, LOON created a production that was both intimate and professionally staged.
The performance is part of a broader trend of regional companies revisiting Sondheim’s catalog, offering audiences a chance to experience his music outside of the major metropolitan centers.
In summary, Dylan’s age‑related reflection and LOON’s staging of A Little Night Music together highlight how artists and companies engage with themes of time, legacy, and community in the contemporary musical landscape.
