Passion

Stephen Sondheim's "Passion" doesn't lend itself to today's trends in musicals, in fact it is something off the beaten track even for Stephen and his frequent collaborator James Lapine, who wrote the book. Based on a Ignio Ugo Tarchetti's 19th century melodramatic novel about a fatal attraction between a consumptive young woman and an army officer. Ettore Scola's 1983 film adaptation (Passione d'Amore) inspired Sondheim to compose the score.

Except for "So Much Happiness," which wends in and out, it doesn't have a showstopping tune in the conventional sense. It even had a bumpy ride on Broadway in 1994 when audiences were more willing to go wherever Sondheim musically led them.

None of these hurdles stop Arden artistic director Terry Nolen, who has tackled some of the most challenging musicals, with a dozen successful Sondheim shows under his belt, including the challenging "Pacific Overtures" and "Assassins." Nolen's sterling productions of "Sweeney Todd" and "A Little Night Music" among his finest achievements and he can add this one to the list.

Passion tells the doomed story of Fosca, age 29 and suffering from what seems to be consumption mixed with a psychological disorder after her disastrous marriage. She lives in the upper room of a military outpost in Italy where her cousin is the ranking officer. The other officers hear Fosca's agonizing screams in the dining hall downstairs.

When the handsome Captain Giorgio is stationed to Ricci's unit and is kind to Fosca, she becomes obsessed with him. Meanwhile, Giorgio is in having clandestine affair with Clara, the wife of an aristocrat with a small child. Giorgio steals away to Milan whenever possible for his trysts with Clara and they make love singing some very passionate Sondheim music. Meanwhile, Fosca sulks, fumes and plots as she debases herself, including playing up her frailty, at every opportunity to win Giorgio's love.

Sondheim doesn't let up on the heavy drapery and somehow Nolen manages mostly to escape Passion's thematic bloat. Working around some creaky Sondheim-Lapine baroqueness to focus on the more subtle aspects of character and otherwise supporting the vocal performances.

Much credit also goes to chamber music clarity ignited by pianist-conductor Amanda Morton, leading the nine-piece band positioned offstage. One of it most intriguing aspects of the score is that Sondheim lays off his overuse of rhyming couplets and clever puns which get tiresome even in some of his best shows.

Ben Dibble is the epitome of an 18th century Colonel, his voice and physicality flawlessly reined in. Michael Philip O'Brien as Ludovic, Fosca's gold digging ex-husband completely commanding in his withering sung scene telling Fosca he married her for her money and nothing more. Frank X is able to pump life in Lapine's sketchy dialogue as the meddling Dr. Tambouri, making him more of a Chekhovian figure.

As Clara and Giorgio, Jennie Eisenhower and Ben Michael, from their opening scene in bed singing "So Much Happiness" bring sensual realism to these roles. Eisenhower's upper range, lilting mezzo, is perfect for Clara's mature lyrical line. Ben Michael is also in fine voice throughout. He strikes as rather stiff in the opening scenes, but as he careens toward a emotional breakdown over his complications of his relationships with Fosca, Michael unravels this part with formidable command.

The versatile Liz Filios, known for her comic roles at the Bearded Ladies Cabaret troupe, delivers an altogether mesmerizing performance in the tricky, unsympathetic role of Fosca.

Stylish production design by Jorge Cousineau that keeps giving. Minimal dramatic set pieces framed against sliding panels that give way to Italianate vistas, projections and dramatic silhouettes. The period couture, military dress and even undergarments rendered in scintillating detail by costume designer Rosemarie McKelvey.

In the show's opening week, Stephen Sondheim himself attended a concert event in his honor at the Arden, with singers performing selections from the company's previous Sondheim productions. Disaster loomed when the electricity in the theater went out at show time due to heavy rains. Nolen ushered everyone to a studio down the street for the concert.

Even with little seating and a single piano instead of an orchestra the singers performed, Sondheim had a blast and the evening is already in the annals of legendary Philly theater nights.

"Passion" runs through June 28 at The Arden Theatre Co., 40 N. 2nd St. in Philadelphia. For tickets or information, call 215-922-1122 or visit www.Ardentheatre.org