text:
And did those feet in ancient time

"And did those feet in ancient time" is a poem by William Blake from the preface to his epic Milton: A Poem in Two Books, one of a collection of writings known as the Prophetic Books. The date of 1804 on the title page is probably when the plates were begun, but the poem was printed c. 1808. Today it is best known as the hymn "Jerusalem", with music written by Sir Hubert Parry in 1916. The famous orchestration was written by Sir Edward Elgar. It is not to be confused with another poem, much longer and larger in scope and also by Blake, called Jerusalem: The Emanation of the Giant Albion.

It is often assumed that the poem was inspired by the apocryphal story that a young Jesus, accompanied by Joseph of Arimathea, a tin merchant, travelled to what is now England and visited Glastonbury during his unknown years. However, according to British folklore scholar A. W. Smith, "there was little reason to believe that an oral tradition concerning a visit made by Jesus to Britain existed before the early part of the twentieth century". Instead, the poem draws on an older story, repeated in Milton's History of Britain, that Joseph of Arimathea, alone, travelled to preach to the ancient Britons after the death of Jesus. The poem's theme is linked to the Book of Revelation (3:12 and 21:2) describing a Second Coming, wherein Jesus establishes a New Jerusalem. Churches in general, and the Church of England in particular, have long used Jerusalem as a metaphor for Heaven, a place of universal love and peace.

In the most common interpretation of the poem, Blake asks whether a visit by Jesus briefly created heaven in England, in contrast to the "dark Satanic Mills" of the Industrial Revolution. Blake's poem asks four questions rather than asserting the historical truth of Christ's visit. The second verse is interpreted as an exhortation to create an ideal society in England, whether or not there was a divine visit.

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The original text is found in the preface Blake wrote for inclusion with Milton, a Poem, following the lines beginning "The Stolen and Perverted Writings of Homer & Ovid: of Plato & Cicero, which all Men ought to contemn: ..."

Blake's poem "And did those feet in ancient time, Walk upon Englands mountains green: And was the holy Lamb of God, On Englands pleasant pastures seen!

And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among these dark Satanic Mills?

Bring me my Bow of burning gold: Bring me my Arrows of desire: Bring me my Spear: O clouds unfold: Bring me my Chariot of fire!

I will not cease from Mental Fight, Nor shall my Sword sleep in my hand: Till we have built Jerusalem, In Englands green & pleasant Land."

Beneath the poem Blake inscribed a quotation from the Bible: "'Would to God that all the Lords people were Prophets' Numbers XI. Ch 29.v"

"Dark Satanic Mills"
The phrase "dark Satanic Mills", which entered the English language from this poem, is often interpreted as referring to the early Industrial Revolution and its destruction of nature and human relationships. That view has been linked to the fate of the Albion Flour Mills in Southwark, the first major factory in London. The rotary steam-powered flour mill, built by Matthew Boulton, assisted by James Watt, could produce 6,000 bushels of flour per week. The factory could have driven independent traditional millers out of business, but it was destroyed in 1791 by fire. There were rumours of arson, but the most likely cause was a bearing that overheated due to poor maintenance.

London's independent millers celebrated, with placards reading, "Success to the mills of Albion but no Albion Mills." Opponents referred to the factory as satanic, and accused its owners of adulterating flour and using cheap imports at the expense of British producers. A contemporary illustration of the fire shows a devil squatting on the building. The mill was a short distance from Blake's home.

Blake's phrase resonates with a broader theme in his works; what he envisioned as a physically and spiritually repressive ideology based on a quantified reality. Blake saw the cotton mills and collieries of the period as a mechanism for the enslavement of millions, but the concepts underpinning the works had a wider application: "And all the Arts of Life they changed into the Arts of Death in Albion./..."

Another interpretation is that the phrase refers to the established Church of England, which, in contrast to Blake, preached a doctrine of conformity to the established social order and class system. Stonehenge and other megaliths are featured in Milton, suggesting they may relate to the oppressive power of priestcraft in general. Peter Porter observed that many scholars argue that the "[mills] are churches and not the factories of the Industrial Revolution everyone else takes them for". In 2007, the Bishop of Durham, N. T. Wright, explicitly recognised that element of English subculture when he acknowledged the view that "dark satanic mills" could refer to the "great churches". In similar vein, in 1967 the critic F. W. Bateson stated "the adoption by the Churches and women's organizations of this anti-clerical paean of free love is amusing evidence of the carelessness with which poetry is read".

An alternative theory is that Blake is referring to a mystical concept within his own mythology, related to the ancient history of England. Satan's "mills" are referred to repeatedly in the main poem, and are first described in words which suggest neither industrialism nor ancient megaliths, but rather something more abstract: "the starry Mills of Satan/ Are built beneath the earth and waters of the Mundane Shell...To Mortals thy Mills seem everything, and the Harrow of Shaddai / A scheme of human conduct invisible and incomprehensible".

"Chariots of fire"
The line from the poem "Bring me my Chariot of fire!" draws on the story of 2 Kings 2:11, where the Old Testament prophet Elijah is taken directly to heaven: "And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven." The phrase has become a byword for divine energy, and inspired the title of the 1981 film Chariots of Fire, in which the hymn "Jerusalem" is sung during the final scenes. The plural phrase "chariots of fire" refers to 2 Kings 6:17.

"Green and pleasant land"
Blake lived in London for most of his life, but wrote much of Milton while living in a cottage, now Blake’s Cottage, in the village of Felpham in Sussex. Amanda Gilroy argues that the poem is informed by Blake's "evident pleasure" in the Felpham countryside. However, local people say that records from Lavant, near Chichester, state that Blake wrote "And did those feet in ancient time" in an east-facing alcove of the Earl of March public house.

The phrase "green and pleasant land" has become a common term for an identifiably English landscape or society. It appears as a headline, title or sub-title in numerous articles and books. Sometimes it refers, whether with appreciation, nostalgia or critical analysis, to idyllic or enigmatic aspects of the English countryside. In other contexts it can suggest the perceived habits and aspirations of rural middle-class life. Sometimes it is used ironically, e.g. in the Dire Straits song "Iron Hand".

Revolution
Several of Blake's poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory. Even though the poem was written during the Napoleonic Wars, Blake was an outspoken supporter of the French Revolution, and Napoleon claimed to be continuing this revolution. The poem expressed his desire for radical change without overt sedition. In 1803 Blake was charged at Chichester with high treason for having "uttered seditious and treasonable expressions", but was acquitted. The trial was not a direct result of anything he had written, but comments he had made in conversation, including "Damn the King!".

The poem is followed in the preface by a quotation from Numbers 11:29: "Would to God that all the Lords people were prophets." Christopher Rowland has argued that this includes

"everyone in the task of speaking out about what they saw. Prophecy for Blake, however, was not a prediction of the end of the world, but telling the truth as best a person can about what he or she sees, fortified by insight and an 'honest persuasion' that with personal struggle, things could be improved. A human being observes, is indignant and speaks out: it's a basic political maxim which is necessary for any age. Blake wanted to stir people from their intellectual slumbers, and the daily grind of their toil, to see that they were captivated in the grip of a culture which kept them thinking in ways which served the interests of the powerful."

The words of the poem "stress the importance of people taking responsibility for change and building a better society 'in Englands green and pleasant land.

Popularisation
The poem, which was little known during the century which followed its writing, was included in the patriotic anthology of verse The Spirit of Man, edited by the Poet Laureate of the United Kingdom, Robert Bridges, and published in 1916, at a time when morale had begun to decline because of the high number of casualties in World War I and the perception that there was no end in sight.

Under these circumstances, Bridges, finding the poem an appropriate hymn text to "brace the spirit of the nation [to] accept with cheerfulness all the sacrifices necessary," asked Sir Hubert Parry to put it to music for a Fight for Right campaign meeting in London's Queen's Hall. Bridges asked Parry to supply "suitable, simple music to Blake's stanzas – music that an audience could take up and join in", and added that, if Parry could not do it himself, he might delegate the task to George Butterworth.

The poem's idealistic theme or subtext accounts for its popularity across much of the political spectrum. It was used as a campaign slogan by the Labour Party in the 1945 general election; Clement Attlee said they would build "a new Jerusalem". It has been sung at conferences of the Conservative Party, at the Glee Club of the British Liberal Assembly, the Labour Party and by the Liberal Democrats.

By Hubert Parry
In adapting Blake's poem as a unison song, Parry deployed a two-stanza format, each taking up eight lines of Blake's original poem. He added a four-bar musical introduction to each verse and a coda, echoing melodic motifs of the song. The word "those" was substituted for "these" before "dark satanic mills".

Parry was initially reluctant to supply music for the campaign meeting, as he had doubts about the ultra-patriotism of Fight for Right; but knowing that his former student Walford Davies was to conduct the performance, and not wanting to disappoint either Robert Bridges or Davies, he agreed, writing it on 10 March 1916, and handing the manuscript to Davies with the comment, "Here's a tune for you, old chap. Do what you like with it." Davies later recalled,

"We looked at [the manuscript] together in his room at the Royal College of Music, and I recall vividly his unwonted happiness over it ... He ceased to speak, and put his finger on the note D in the second stanza where the words 'O clouds unfold' break his rhythm. I do not think any word passed about it, yet he made it perfectly clear that this was the one note and one moment of the song which he treasured ..."

Davies arranged for the vocal score to be published by Curwen in time for the concert at the Queen's Hall on 28 March and began rehearsing it. It was a success and was taken up generally.

But Parry began to have misgivings again about Fight for Right, and in May 1917 wrote to the organisation's founder Sir Francis Younghusband withdrawing his support entirely. There was even concern that the composer might withdraw the song from all public use, but the situation was saved by Millicent Fawcett of the National Union of Women's Suffrage Societies (NUWSS). The song had been taken up by the Suffragists in 1917 and Fawcett asked Parry if it might be used at a Suffrage Demonstration Concert on 13 March 1918. Parry was delighted and orchestrated the piece for the concert (it had originally been for voices and organ). After the concert, Fawcett asked the composer if it might become the Women Voters' Hymn. Parry wrote back, "I wish indeed it might become the Women Voters' hymn, as you suggest. People seem to enjoy singing it. And having the vote ought to diffuse a good deal of joy too. So they would combine happily".

Accordingly, he assigned the copyright to the NUWSS. When that organisation was wound up in 1928, Parry's executors reassigned the copyright to the Women's Institutes, where it remained until it entered the public domain in 1968.

The song was first called "And Did Those Feet in Ancient Time" and the early scores have this title. The change to "Jerusalem" seems to have been made about the time of the 1918 Suffrage Demonstration Concert, perhaps when the orchestral score was published (Parry's manuscript of the orchestral score has the old title crossed out and "Jerusalem" inserted in a different hand). However, Parry always referred to it by its first title. He had originally intended the first verse to be sung by a solo female voice (this is marked in the score), but this is rare in contemporary performances. Sir Edward Elgar re-scored the work for very large orchestra in 1922 for use at the Leeds Festival. Elgar's orchestration has overshadowed Parry's own, primarily because it is the version usually used now for the Last Night of the Proms (though Sir Malcolm Sargent, who introduced it to that event in the 1950s, always used Parry's version).

By Wallen
In 2020 a new musical arrangement of the poem by Errollyn Wallen, a British composer born in Belize, was sung by South African soprano Golda Schultz at the Last Night of the Proms. Parry's version was traditionally sung at the Last Night, with Elgar's orchestration; the new version, with different rhythms, dissonance, and reference to the blues, caused much controversy.

Use as a hymn
Although Parry composed the music as a unison song, many churches have adopted "Jerusalem" as a four-part hymn; a number of English entities, including the BBC, the Crown, cathedrals, churches, and chapels regularly use it as an office or recessional hymn on Saint George's Day.

However, some clergy in the Church of England, according to the BBC TV programme Jerusalem: An Anthem for England, have said that the song is not technically a hymn as it is not a prayer to God; consequently, it is not sung in some churches in England. It was sung as a hymn during the wedding of Prince William and Catherine Middleton in Westminster Abbey.

Many schools use the song, especially public schools in Great Britain (it was used as the title music for the BBC's 1979 series Public School about Radley College), and several private schools in Australia, New Zealand, New England and Canada. In Hong Kong, diverted version of "Jerusalem" is also used as the school hymn of St. Catherine's School for Girls, Kwun Tong and Bishop Hall Jubilee School. "Jerusalem" was chosen as the opening hymn for the London Olympics 2012, although "God Save the Queen" was the anthem sung during the raising of the flag in salute to the Queen. Some attempts have also been made to increase its use elsewhere with other words; examples include the state funeral of President Ronald Reagan in Washington National Cathedral on 11 June 2004, and the state memorial service for Australian Prime Minister Gough Whitlam on 5 November 2014.

It has been sung on BBC's Songs Of Praise for many years; in a countrywide poll to find the UK's favourite hymn in 2019, it was voted top, relegating previous favourite "How Great Thou Art" into second place.

Proposal as English anthem
Upon hearing the orchestral version for the first time, King George V said that he preferred "Jerusalem" over the British national anthem "God Save the King". "Jerusalem" is considered to be England's most popular patriotic song; The New York Times said it was "fast becoming an alternative national anthem," and there have been calls to give it official status. England has no official anthem and uses the British national anthem "God Save the King", also unofficial, for some national occasions, such as before English international football matches. However, some sports, including rugby league, use "Jerusalem" as the English anthem. "Jerusalem" is the official hymn of the England and Wales Cricket Board, although "God Save the Queen" has been sung before England's games on several occasions, including the 2010 ICC World Twenty20, the 2010–11 Ashes series and the 2019 ICC Cricket World Cup. Questions in Parliament have not clarified the situation, as answers from the relevant minister say that since there is no official national anthem, each sport must make its own decision.

As Parliament has not clarified the situation, Team England, the English Commonwealth team, held a public poll in 2010 to decide which anthem should be played at medal ceremonies to celebrate an English win at the Commonwealth Games. "Jerusalem" was selected by 52% of voters over "Land of Hope and Glory" (used since 1930) and "God Save the Queen".

In 2005 BBC Four produced Jerusalem: An Anthem For England highlighting the usages of the song/poem and a case was made for its adoption as the national anthem of England. Varied contributions come from Howard Goodall, Billy Bragg, Garry Bushell, Lord Hattersley, Ann Widdecombe and David Mellor, war proponents, war opponents, suffragettes, trade unionists, public schoolboys, the Conservatives, the Labour Party, football supporters, the British National Party, the Women's Institute, London Gay Men's Chorus, London Community Gospel Choir, Fat Les and naturists.

Enduring popularity
The popularity of Parry's setting has resulted in many hundreds of recordings being made, too numerous to list, of both traditional choral performances and new interpretations by popular music artists. The song has also had a large cultural impact in Great Britain. It is sung every year by an audience of thousands at the end of the Last Night of the Proms in the Royal Albert Hall and simultaneously in the Proms in the Park venues throughout the country. Similarly, along with "The Red Flag", it is sung each year at the closing of the annual Labour Party conference.

The song was used by the National Union of Women's Suffrage Societies (indeed Parry transferred the copyright to the NUWSS in 1918; the Union was wound up in 1928 after women won the right to vote). During the 1920s many Women's Institutes (WI) started closing meetings by singing it, and this caught on nationally. Although it was never adopted as the WI's official anthem, in practice it holds that position, and is an enduring element of the public image of the WI.

A rendition of "Jerusalem" was included in the 1973 album Brain Salad Surgery by the progressive rock group Emerson, Lake & Palmer. The arrangement of the hymn is notable for its use of the first polyphonic synthesizer, the Moog Apollo. It was released as a single, but failed to chart in the United Kingdom.

An instrumental rendition of the hymn was included in the 1989 album "The Amsterdam EP" by Scottish rock band Simple Minds.

Iron Maiden singer Bruce Dickinson incorporated the full text of the poem into his 6:42 track Jerusalem (co-written with Roy Z), a part of his William Blake inspired 1998 solo album The Chemical Wedding. Dickinson performed the track live in 2023 as part of the Jon Lord Concerto for Group and Orchestra tour.

"Jerusalem" is traditionally sung before rugby league's Challenge Cup Final, along with "Abide with Me", and before the Super League Grand Final, where it is introduced as "the rugby league anthem". Before 2008, it was the anthem used by the national side, as "God Save the Queen" was used by the Great Britain team: since the Lions were superseded by England, "God Save the Queen" has replaced "Jerusalem". Since 2004, it has been the anthem of the England cricket team, being played before each day of their home test matches.

It was also used in the opening ceremony of the 2012 Summer Olympics held in London and inspired several of the opening show segments directed by Danny Boyle. It was included in the ceremony's soundtrack album, Isles of Wonder.

Use in film, television and theatre
"Bring me my Chariot of fire" inspired the title of the film Chariots of Fire. A church congregation sings "Jerusalem" at the close of the film and a performance appears on the Chariots of Fire soundtrack performed by the Ambrosian Singers overlaid partly by a composition by Vangelis. One unexpected touch is that "Jerusalem" is sung in four-part harmony, as if it were truly a hymn. This is not authentic: Parry's composition was a unison song (that is, all voices sing the tune – perhaps one of the things that make it so "singable" by massed crowds) and he never provided any harmonisation other than the accompaniment for organ (or orchestra). Neither does it appear in any standard hymn book in a guise other than Parry's own, so it may have been harmonised specially for the film. The film's working title was "Running" until Colin Welland saw a television programme, Songs of Praise, featuring the hymn and decided to change the title.

The hymn has featured in many other films and television programmes including Four Weddings and a Funeral, How to Get Ahead in Advertising, The Loneliness of the Long Distance Runner, Saint Jack, Calendar Girls, Season 3: Episode 22 of Star Trek: Deep Space Nine, Goodnight Mr. Tom, Women in Love, The Man Who Fell to Earth, Shameless, Jackboots on Whitehall, Quatermass and the Pit, Monty Python's Flying Circus, and Collateral (UK TV series). An extract was heard in the 2013 Doctor Who episode "The Crimson Horror" although that story was set in 1893, i.e., before Parry's arrangement. A bawdy version of the first verse is sung by Mr Partridge in the third episode of Season 1 of Hi-de-Hi. A punk version is heard in Derek Jarman's 1977 film Jubilee. In an episode of Peep Show, Jez (Robert Webb) records a track titled "This Is Outrageous" which uses the first and a version of the second line in a verse. A modified version of the hymn, replacing the word "England" with "Neo", is used in Neo Yokio as the national anthem of the eponymous city state.

In the theatre it appears in Jerusalem, Calendar Girls and in Time and the Conways.

British band The Verve reworks lines from “Jerusalem” in their song “Love is Noise”, asking, "Will those feet in modern times/Walk on soles that are made in China?", and alludes to "bright prosaic malls".

title: And did those feet in ancient time


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The Bush (Alaska)

In Alaska, the Bush typically refers to any region of the state that is not connected to the North American road network and does not have ready access to the state's ferry system. A large proportion of Alaska Native populations live in the Bush, often depending on subsistence hunting and fishing.

Geographically, the Bush comprises the Alaska North Slope; Northwest Arctic; West, including the Baldwin and Seward Peninsulas; the Yukon-Kuskokwim Delta; Southwest Alaska; Bristol Bay; Alaska Peninsula; and remote areas of the Alaska Panhandle and Interior.

Some of the hub communities in the bush, which typically can be reached by larger, commercial airplanes, include Bethel, Dillingham, King Salmon, Nome, Utqiagvik,   Kodiak Island, Kotzebue, and Unalaska-Dutch Harbor.

Most parts of Alaska that are off the road or ferry system can be reached by small bush airplanes. Travel between smaller communities or to and from hub communities is typically accomplished by snowmobiles, boats, or ATVs.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: The Bush (Alaska)


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A Little Night Music

A Little Night Music is a musical with music and lyrics by Stephen Sondheim and book by Hugh Wheeler. Inspired by the 1955 Ingmar Bergman film Smiles of a Summer Night, it involves the romantic lives of several couples. Its title is a literal English translation of the German name for Mozart's Serenade No. 13, K. 525, Eine kleine Nachtmusik. The musical includes the popular song "Send In the Clowns", written for Glynis Johns.

Since its original 1973 Broadway production, the musical has enjoyed professional productions in the West End, by opera companies, in a 2009 Broadway revival, and elsewhere, and it is a popular choice for regional groups. It was adapted for film in 1977, with Harold Prince directing and Elizabeth Taylor, Len Cariou, Lesley-Anne Down, and Diana Rigg starring.

Act One
The setting is Sweden, around the year 1900. One by one, the Quintet – five singers who comment like a Greek chorus throughout the show – enter, tuning up. Gradually, their vocalizing becomes an overture blending fragments of "Remember," "Soon," and "The Glamorous Life." The other characters enter waltzing, each uncomfortable with their partner ("Night Waltz"). After they drift back off, the aging and sardonic Madame Armfeldt, a wealthy former courtesan, and her solemn granddaughter, Fredrika, enter. Madame Armfeldt tells the child that the summer night "smiles" three times: first on the young, second on fools, and third on the old. Fredrika vows to watch the smiles occur.

Middle-aged, successful lawyer Fredrik Egerman has recently married an 18-year-old trophy wife, Anne, a naive girl who loves Fredrik but is not attracted to him. The two have been married for eleven months, and Anne still protects her virginity. Upon coming home from work, Fredrik surprises Anne with tickets to a play, starring Desiree Armfeldt, a glamorous actress whom Anne greatly admires. Anne giddily fantasizes about what it would be like to be as beautiful and beloved as Desiree, and starts talking at Fredrik about her day. Fredrik, distracted by his lust, considers various ways he might seduce his wife but ultimately rules each one out and elects to take a nap instead ("Now"). Meanwhile, his son Henrik, a seminary student a year older than his stepmother, is frustrated and ignored ("Later"). Anne promises her husband that shortly she will consent to have sex even though she can't help recoiling at his touch ("Soon"), and all three of them lament at once. The number concludes with Fredrik sighing Desiree's name in his sleep, which Anne overhears. Anne's maidservant Petra, an experienced and forthright girl, slightly older than the teen herself, offers her worldly but crass advice.

Desiree Armfeldt, although once prominent, is now a fading flower clinging onto what's left of her past fame. Desiree tours in small, obscure towns with her theatre troupe. Madam Armfeldt, Desiree's mother, has taken over the care of Desiree's daughter Fredrika. Fredrika misses her mother, but Desiree continually delays seeing her, preferring, somewhat ironically, her life on tour ("The Glamorous Life"). As Fredrik and Anne take their seats at Desiree's play, Anne's previous excitement quickly devolves into anxiety, suspicious that Fredrik and Desiree have a romantic history that he never disclosed to her. The play begins and Desiree immediately notices Fredrik in the audience, and the Quintet reveals their shared memories and passionate relationship ("Remember"). Desiree, ironically playing a sexually irresistible countess, exchanges amorous glances with Fredrik and delivers her lines in an overtly suggestive tone, confirming Anne's suspicions as true. Anne, upset and overwhelmed, demands that Fredrik take her home. Meanwhile, Petra tries to seduce a nervous and petulant Henrik.

That night, as Fredrik remembers his past with Desiree, he sneaks out to see her. The two have a happy but strained reunion, reflecting on their new lives. Desiree sarcastically boasts of her own adultery, as she has been seeing the married dragoon, Count Carl-Magnus Malcolm. Following, Fredrik tries to explain how much he loves Anne, fending off Desiree's interjecting quips, but he ultimately reveals his sexual frustration ("You Must Meet My Wife"). Upon learning that Fredrik has gone for eleven months without sex, she agrees to accommodate him as a favor for an old friend.

Madam Armfeldt offers advice to young Fredrika. The elderly woman reflects poignantly on her own checkered past and wonders what happened to prior refined styles of living ("Liaisons"). In Desiree's apartment, Count Carl-Magnus Malcolm proclaims his unannounced arrival in his usual booming tones. Fredrik and Desiree fool the Count with an innocent explanation for their disheveled appearance, but he is still suspicious. He boasts of his many duels and the various wounds he has suffered before demonstrating his skills in knife-throwing. Fredrik responds sarcastically, causing the dragoon to dislike him immediately. Carl-Magnus returns to his wife, Countess Charlotte. Charlotte knows of her husband's infidelity, but Carl-Magnus is too absorbed in his suspicions of Desiree to talk to her ("In Praise of Women"). When she persuades him to blurt out the whole story, a twist is revealed—Charlotte's little sister is a schoolfriend of Anne's.

Charlotte visits Anne and describes Fredrik's tryst with Desiree. Anne is shocked and saddened, but Charlotte explains that such is the lot of a wife, and love brings pain ("Every Day a Little Death"). Meanwhile, Desiree asks Madam Armfeldt to host a party for Fredrik, Anne, and Henrik. Madam Armfeldt reluctantly agrees and sends out a personal invitation; its receipt sends Anne into a frenzy, imagining Desiree further seducing Fredrik at the estate. Anne does not want to accept the invitation, but Charlotte convinces her to do so to heighten the contrast between the older Desiree and the young and beautiful teenager. Charlotte relates this to the Count, who (much to her chagrin) decides to visit the Armfeldts, uninvited, as well. Carl-Magnus plans to challenge Fredrik to a duel, while Charlotte hopes to seduce the lawyer to make her husband jealous and end his philandering. The act ends as all characters head to Madam Armfeldt's estate ("A Weekend in the Country").

Act Two
Madam Armfeldt's country estate is bathed in the golden glow of perpetual summer sunset at this high latitude ("Night Waltz One and Two"). Everyone arrives, each with their own amorous purposes and desires—even Petra, who catches the eye of Armfeldt's fetching manservant, Frid. The women begin to quarrel with one another. Fredrik is astonished to learn the name of Desiree's daughter. Henrik meets Fredrika, and confesses to her he deeply loves Anne. Meanwhile, in the garden, Fredrik and Carl-Magnus reflect on the difficulty of being annoyed with Desiree, contrasting her immoral actions with her physical beauty ("It Would Have Been Wonderful"). Dinner is served, and the female Quintet singers comment on the characters’ suspense regarding the coming meal ("Perpetual Anticipation").

At dinner, Charlotte attempts to flirt with Fredrik and trades insults with Desiree. Soon, everyone is shouting and scolding everyone else, except for Henrik, who finally speaks up. He accuses the whole company of being amoral, and flees the scene. Stunned, everyone reflects on the situation and wanders away. Fredrika tells Anne of Henrik's secret love and the two dash off searching for him. Meanwhile, Desiree meets Fredrik and asks if he still wants to be "rescued" from his life. Fredrik answers honestly that he loves Desiree but cannot bring himself to hurt Anne. Hurt and bitter, Desiree can only reflect on the nature of her life and relationship with Fredrik ("Send In the Clowns"). Anne finds Henrik, who is attempting to commit suicide. The clumsy boy cannot complete the task, and Anne tells him she loves him, too. The pair begins to kiss, which leads to Anne's first sexual encounter. Meanwhile, not far away, Frid sleeps in Petra's lap. The maid imagines advantageous marriages but concludes that in the meantime, "a girl ought to celebrate what passes by" ("The Miller's Son"). Charlotte confesses her plan to Fredrik, and both watch Henrik and Anne, happy together, run away to start their new life. The two commiserate on a bench. Carl-Magnus, preparing to sleep with Desiree, sees this and challenges Fredrik to Russian Roulette; Fredrik nervously misfires and simply grazes his own ear. Feeling victorious, Carl-Magnus reaffirms his love for Charlotte, finally granting her wish.

After the Count and Countess leave, Fredrika and Madam Armfeldt discuss the recent chaotic turns of events. The elderly woman asks Fredrika a surprising question: "What is it all for?" Fredrika thinks about this and decides that love, for all of its frustrations, "must be worth it." Madam Armfeldt is surprised, ruefully noting that she rejected love for material wealth at Fredrika's age. She praises her granddaughter and remembers true love's fleeting nature.

Fredrik finally confesses his love for Desiree, acknowledging that Fredrika is his daughter, and the two promise to start a new life together ("Send in the Clowns" (Reprise)). Madam Armfeldt sits alone with Fredrika, who tells her grandmother that she has watched carefully but still has not seen the night smile. Madam Armfeldt laughs and points out that the night has indeed smiled twice: first on Henrik and Anne, the young, and second on Desiree and Fredrik, the fools. As the two wait for the "third smile... on the old", it occurs: Madam Armfeldt closes her eyes and dies peacefully with Fredrika beside her ("Last Waltz").

Musical numbers

 * Act I
 * Overture – Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson and Mrs. Segstrom (the "Quintet")
 * "Night Waltz" – Company
 * "Now" – Fredrik Egerman
 * "Later" – Henrik Egerman
 * "Soon" – Anne Egerman
 * "Soon/Later/Now" – Anne, Henrik and Fredrik
 * "The Glamorous Life" – Fredrika Armfeldt, Desiree Armfeldt, Madam Armfeldt and Quintet
 * "Remember?" – Quintet
 * "You Must Meet My Wife" – Desiree and Fredrik
 * "Liaisons" – Madam Armfeldt
 * "In Praise of Women" – Count Carl-Magnus Malcolm
 * "Every Day a Little Death" – Countess Charlotte Malcolm and Anne
 * "A Weekend in the Country" – Company

 * Act II
 * Entr'acte – Orchestra
 * "Night Waltz I (The Sun Won't Set)" – Quintet
 * "Night Waltz II (The Sun Sits Low)" – Quintet
 * "It Would Have Been Wonderful" – Fredrik and Carl-Magnus
 * "Perpetual Anticipation" – Mrs. Nordstrom, Mrs. Segstrom and Mrs. Anderssen
 * "Dinner Table Scene" – Orchestra
 * "Send In the Clowns" – Desiree
 * "The Miller's Son" – Petra
 * "The World Won't End/Every Day a Little Death (reprise)" – Desiree and Charlotte
 * Reprises ("Soon", "You Must Meet My Wife", "A Weekend in the Country" and "Every Day a Little Death") – Quintet
 * "Send in the Clowns" (Reprise) – Desiree and Fredrik
 * "Last Waltz" – Orchestra

Stage:
 * Additional musical numbers
 * "Two Fairy Tales" – Henrik and Anne (cut in rehearsals when the tone of the musical changed)
 * "Silly People" – Frid (cut for time when "The Miller's Son" was added in Boston)
 * "Bang!" – Carl-Magnus (replaced by "In Praise of Women")
 * "My Husband the Pig" – Charlotte (replaced by the second half of "In Praise of Women")

Screen:
 * "Love Takes Time" – Company (lyrics added to Night Waltz)
 * "The Glamorous Life" – Fredrika (solo version; later used combined with the original in the RNT revival)
 * A new introductory verse to "Every Day a Little Death"
 * Additional lyrics for "A Weekend in the Country", including a short section for Mme. Armfeldt

Characters

 * Fredrik Egerman: A successful widowed middle-aged lawyer. He is married to the 18-year-old Anne and has one son, Henrik, from his previous marriage. In the past, he and Desiree were lovers. Bass-Baritone A2–E4
 * Anne Egerman: Fredrik's new, naive wife, who is still a virgin after 11 months of marriage. Soprano G♯3–A5
 * Henrik Egerman: Fredrik's son, 20 years old and Anne's stepson. He is serious but confused; he reads the works of philosophers and theologians whilst studying for the Lutheran priesthood. His sexual repression is a great cause of his turmoil, as he lusts after Anne and attempts to have a sexual encounter with Petra. Tenor G2–B4
 * Petra: Anne's maid and closest confidante, brash, bold and flirtatious. She has relations with Henrik. Mezzo-soprano F♯3–F5
 * Desiree Armfeldt: Self-absorbed, once-successful actress, now touring the countryside in what is clearly not the "glamorous life". Harboured love for Fredrik for years since their affair. Mezzo-soprano F♯3–E5
 * Fredrika Armfeldt: Desiree's thirteen-year-old daughter, who may or may not be the product (unbeknownst to Fredrik) of the actress's and Fredrik's affair. Soprano C4–E5
 * Madame Armfeldt: Desiree's mother, a former courtesan who has had "liaisons" with royalty. Contralto C3–F♯4
 * Count Carl-Magnus Malcolm: A military dragoon who is Desiree's latest lover. Hypocritically places value on fidelity, being hugely possessive when it comes to both his wife and mistress. Comedic role. Operatic Baritone G2–F♯4
 * Countess Charlotte Malcolm: Carl-Magnus' wife, to whom he flaunts his infidelities. She despises her husband for his behaviour, but obeys his orders due to her hopeless love for him. Self-loathing and borderline alcoholic, yet the more intelligent half of the Malcolm couple. Mezzo-soprano G3–F5
 * Frid: Madame Armfeldt's manservant. Has a tryst with Petra.
 * The Quintet: Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson and Mrs. Segstrom. A group of five singers that act as a Greek chorus. Sometimes referred to as the Liebeslieder Singers (love song singers) although Stephen Sondheim and Hugh Wheeler did not script them to have that title, using Quintet instead. The first usage of Liebeslieder for the Quintet came during the 1990 New York City Opera production. Prince said that these characters represent "people in the show who aren't wasting time ... the play is about wasting time."
 * Malla: Desiree's maid, who is with her constantly. Silent part
 * Osa: Maid at Madame Armfeldt's manse. Silent part
 * Bertrand: Page at Madame Armfeldt's manse. Silent part

Notable replacements

 * Broadway (1973–74)
 * Fredrik Egerman: William Daniels

 * West End (1975)
 * Desiree Armfeldt: Virginia McKenna
 * Madame Armfeldt: Angela Baddeley

 * Broadway Revival (2009–11)
 * Desiree Armfeldt: Bernadette Peters
 * Madame Armfeldt: Elaine Stritch
 * Fredrika Armfeldt: Katherine McNamara
 * Count Carl-Magnus: Bradley Dean

Original Broadway production
Subsequent to its January 23-February 10 tryout engagement at the Colonial Theatre (Boston), A Little Night Music opened on Broadway at the Shubert Theatre on February 25, 1973. It played there until September 15, 1973, then moved to the Majestic Theatre, on September 17, and closed there on August 3, 1974, after 601 performances and 12 previews. It was directed by Harold Prince with choreography by Patricia Birch and design by Boris Aronson. The cast included Glynis Johns (Desiree Armfeldt), Len Cariou (Fredrik Egerman), Hermione Gingold (Madame Armfeldt), Victoria Mallory (Anne Egerman), Judith Kahan (Fredrika Armfeldt), Mark Lambert (Henrik Egerman), Laurence Guittard (Carl-Magnus Malcolm), Patricia Elliott (Charlotte Malcolm), George Lee Andrews (Frid), and D'Jamin Bartlett (Petra). It won the New York Drama Critics' Circle Award and the Tony Award for Best Musical.

Australian premiere
The first international production opened at Her Majesty's Theatre in Sydney, Australia in November 1973, with a cast including Taina Elg, Bruce Barry, Jill Perryman, Doris Fitton, Anna Russell and Geraldine Turner. Australian revivals have been presented by the Sydney Theatre Company (featuring Geraldine Turner and a young Toni Collette) in 1990, Melbourne Theatre Company (featuring Helen Morse and John O'May) in 1997, Opera Australia (featuring Sigrid Thornton and Anthony Warlow) in 2009, and Victorian Opera (featuring Ali McGregor, Simon Gleeson and Verity Hunt-Ballard) in 2019.

United States tour
A US national tour began on February 26, 1974, at the Forrest Theatre, Philadelphia, and ended on February 13, 1975, at the Shubert Theatre, Boston. Jean Simmons as Desiree Armfeldt, George Lee Andrews as Fredrik Egerman and Margaret Hamilton as Madame Armfeldt headed the cast.

West End premiere
The musical premiered in the West End at the Adelphi Theatre on April 15, 1975, and starred Jean Simmons, Joss Ackland, David Kernan, Liz Robertson, and Diane Langton, with Hermione Gingold reprising her role as Madame Armfeldt. It ran for 406 performances. During the run, Angela Baddeley replaced Gingold, and Virginia McKenna replaced Simmons.

1989 West End revival
A revival opened in the West End on October 6, 1989, at the Piccadilly Theatre, directed by Ian Judge, designed by Mark Thompson, and choreographed by Anthony Van Laast. It starred Lila Kedrova as Madame Armfeldt, Dorothy Tutin as Desiree Armfeldt, Peter McEnery as Fredrik, and Susan Hampshire. The production ran for 144 performances, closing on February 17, 1990.

1995 London revival
A revival by the Royal National Theatre opened at the Olivier Theatre on September 26, 1995. It was directed by Sean Mathias, with set design by Stephen Brimson Lewis, costumes by Nicky Gillibrand, lighting by Mark Henderson and choreography by Wayne McGregor. It starred Judi Dench (Desiree), Siân Phillips (Madame Armfeldt), Joanna Riding (Anne Egerman), Laurence Guittard (Fredrik Egerman), Patricia Hodge (Countess Charlotte) and Issy van Randwyck (Petra). The production closed on August 31, 1996. Dench received the Olivier Award for Best Actress in a Musical.

2008 London revival
The third London revival ran at the Menier Chocolate Factory from November 22, 2008, until March 8, 2009. The production was directed by Trevor Nunn, with musical supervision by Caroline Humphris, choreography by Lynne Page, sets and costumes by David Farley and new orchestrations by Jason Carr. The cast included Hannah Waddingham as Desiree, Alexander Hanson as Frederik, Jessie Buckley (Anne), Maureen Lipman (Madame Armfeldt), Alistair Robins (the Count), Gabriel Vick (Henrik), Grace Link (Fredrika) and Kasia Hammarlund (Petra). This critically acclaimed production transferred to the Garrick Theatre in the West End for a limited season, opening on March 28, 2009, and running until July 25, 2009. The production then transferred to Broadway with a new cast.

2009 Broadway revival
The 2008 Menier Chocolate Factory production opened on Broadway at the Walter Kerr Theatre in previews on November 24, 2009, and officially on December 13, 2009, with the same creative team. The cast was led by Angela Lansbury as Madame Armfeldt and, in her Broadway debut, Catherine Zeta-Jones as Desiree. Also featured were Alexander Hanson as Frederik, Ramona Mallory (the daughter of original Broadway cast members Victoria Mallory and Mark Lambert) as Anne, Hunter Ryan Herdlicka as Henrik, Leigh Ann Larkin as Petra, Erin Davie as the Countess, Aaron Lazar as the Count, and Bradley Dean as Frid. Zeta-Jones received the award for Best Leading Actress in a Musical at the 64th Tony Awards.

Originally, Katherine Doherty and Keaton Whittaker played Fredrika in alternating performances, beginning with the November 2009 previews. The official show album, which was recorded in January 2010, features both Doherty and Whittaker as Fredrika (on different songs). However, Katherine McNamara replaced Doherty in February 2010. McNamara and Whittaker stayed with the production until it ended in January 2011.

When the contracts of Zeta-Jones and Lansbury ended, the production closed temporarily on June 20, 2010, and resumed on July 13, with new stars Bernadette Peters as Desiree Armfeldt and Elaine Stritch as Madame Armfeldt. In an interview, Peters said that Sondheim had "proposed the idea to her this spring and urged the producers of the revival to cast her." Trevor Nunn directed rehearsals with the two new stars, and the rest of the original cast remained. Peters and Stritch extended their contracts until January 9, 2011, when the production closed with 20 previews and 425 regular performances. Before the production closed, it recouped its initial investment.

Europe
Zarah Leander played Madame Armfeldt in the original Austrian staging (in 1975) as well as in the original Swedish staging in Stockholm in 1978 (here with Jan Malmsjö as Fredrik Egerman). The successful Stockholm staging was directed by Stig Olin. In 2010 the musical was scheduled to return to Stockholm and the Stockholm Stadsteater. The cast included Pia Johansson, Dan Ekborg, Yvonne Lombard and Thérese Andersson.

The Théâtre du Châtelet, Paris production ran from February 15, 2010, through February 20, 2010. Lee Blakeley directed and Andrew George was the choreographer. Italian-born actress Greta Scacchi played Désirée, and Leslie Caron played Madame Armfeldt.

The Turku City Theatre staged the musical in 2011 with Kirsi Tarvainen in the role as Désirée. Tuomas Parkkinen directed and Jussi Vahvaselkä was musical director.

In 2019, the Nederlands Reisopera staged a version directed by Zack Winokur, with Susan Rigvava-Dumas playing Désirée.

Opera companies and concerts
The musical has also become part of the repertoire of a few opera companies. Michigan Opera Theatre was the first major American opera company to present the work in 1983, and again in November 2009. Light Opera Works (Evanston, Illinois) produced the work in August 1983. New York City Opera staged it in 1990, 1991 and 2003, the Houston Grand Opera in 1999, the Los Angeles Opera in 2004, and Hartford Opera Theater in 2014. New York City Opera's production in August 1990 and July 1991 (a total of 18 performances) won the 1990 Drama Desk Award for Outstanding Revival and was telecast on the PBS show Live at Lincoln Center on November 7, 1990. The cast included both stage performers: Sally Ann Howes and George Lee Andrews as Desiree and Frederik and opera regular Regina Resnik as Madame Armfeldt (in 1991). The 2003 production featured a young Anna Kendrick as Fredrika Armfeldt, alongside Jeremy Irons as Frederik, Juliet Stevenson as Desiree, Claire Bloom as Madame Armfeldt, Danny Gurwin as Henrik, Michele Pawk as Charlotte, Jessiva Boevers as Petra, Kristin Huxhold as Anne and Marc Kudisch as Carl-Magnus. The 2003 production was revived at Los Angeles Opera in July 2004. Kudish, Pawk, Gurwin and Boevers returned alongside Judith Ivey as Desiree, Zoe Caldwell as Madame Armfeldt, Victor Garber as Frederik, Laura Benanti as Anne and Kristen Bell as Fredrika.

Opera Australia presented the piece in Melbourne in May 2009, starring Sigrid Thornton as Desiree Armfeldt and Nancye Hayes as Madame Armfeldt. The production returned in 2010 at the Sydney Opera House with Anthony Warlow taking on the role of Fredrik Egerman. The production was directed by Stuart Maunder, designed by Roger Kirk, and conducted by Andrew Greene. Opera Theatre of Saint Louis performed the musical in June 2010. Designer Isaac Mizrahi directed and designed the production, with a cast that included Amy Irving, Siân Phillips, and Ron Raines as Fredrik Egerman.

The piece has also become a popular choice for amateur musical theatre and light opera companies. In 2017, the musical was performed by students at The Royal Academy of Dramatic Art.

In June 2024, there is set to be a concert at David Geffen Hall in Lincoln Center. The production is set to star Susan Graham (Desiree Armfeldt), Cynthia Erivo (Petra), Ron Raines (Fredrik Egerman), Kerstin Anderson (Anne Egerman), Jonathan Christopher (Mr. Erlanson), Jason Gotay (Henrik Egerman), Ellie Fishman (Mrs. Nordstrom), Jin Ha (Frid), Addie Harrington (Fredrika Armfeldt), Shuler Hensley (Count Carl Magnus), Samantha Hill (Mrs. Segstrom), Andrea Jones-Sojola (Mrs. Anderson), Ross Lekites (Mr. Lindquist), Marsha Mason (Madam Armfeldt), and Ruthie Ann Miles (Countess Charlotte). The concert is set to be produced by Jeff Berger, in association with Doug and Stacey Meyer, David and Ryan Belenzon, and Michael Lamon.

Film adaptation
A film version of A Little Night Music was released in 1977. Cariou, Gingold, and Guittard reprise their broadway roles alongside Elizabeth Taylor as Desiree, Lesley-Anne Down as Anne and Diana Rigg as Charlotte. The setting for the film was moved from Sweden to Austria. Sondheim wrote lyrics for the "Night Waltz" theme ("Love Takes Time") and wrote an entirely new version of "The Glamorous Life", which has been incorporated into several subsequent productions of the stage musical. However, other songs, including "In Praise of Women", "The Miller's Son" and "Liaisons", were cut and remain heard only as background orchestrations. The film marked Prince's second (and final) time as a motion picture director. Critical reaction to the film was mostly negative, with much being made of Taylor's wildly fluctuating weight from scene to scene. Some critics talked more positively of the film, with Variety calling it "an elegant looking, period romantic charade". There was praise for Diana Rigg's performance, and orchestrator Jonathan Tunick received an Oscar for his work on the score. A soundtrack recording was released on LP, and a DVD release was issued in June 2007.

Music analysis
The score for A Little Night Music presents performance challenges more often seen in operetta or light opera pieces than in standard musical comedy. The demands made on the singing cast are considerable; although the vocal demands of the role of Desiree are rather small, most of the other singing roles require strong, legitimately-trained voices with fairly wide ranges. Sondheim's liberal use of counterpoint extends to the vocal parts, including a free-structured round (the trio "Perpetual Anticipation") as well as songs in which characters engage in interior monologues or even overt dialogue simultaneously ("Now/Later/Soon", "A Weekend in the Country"). Critic Rex Reed noted that "The score of 'Night Music' ...contains patter songs, contrapuntal duets and trios, a quartet, and even a dramatic double quintet to puzzle through. All this has been gorgeously orchestrated by Jonathan Tunick; there is no rhythm section, only strings and woodwinds to carry the melodies and harmonies aloft."

Sondheim's engagement with threes extends to his lyrics. He organizes trios with the singers separated, while his duets are sung together, about a third person.

The work is performed as an operetta in many professional opera companies. For example, it was added to the New York City Opera Company repertoire in 1990.

time
Most of the music in the show is written in waltz meter ( time). Some parts adopt compound meter, with a time signature such as. Passages in "Overture", "Glamorous Life", "Liaisons", "Every Day A Little Death", and "The Miller's Son" are in duple meter.

Counterpoint and polyphony
At several points, Sondheim has multiple performers each sing a different song simultaneously. This use of counterpoint maintains coherence even as it extends the notion of a round, familiar in songs such as the traditional "Frère Jacques", into something more complex. Sondheim said: "As for the three songs ... going together well, I might as well confess. In those days I was just getting into contrapuntal and choral writing...and I wanted to develop my technique by writing a trio. What I didn't want to do is the quodlibet method...wouldn't it be nice to have three songs you don't think are going to go together, and they do go together ... The trick was the little vamp on "Soon" which has five-and six-note chords." Steve Swayne comments that the "contrapuntal episodes in the extended ensembles ... stand as testament to his interest in Counterpoint."

"Send In The Clowns"
The show's best-known and Sondheim's biggest hit song was almost an afterthought, written several days before the start of out-of-town tryouts. Sondheim initially conceived Desiree as a role for a more or less non-singing actress. When he discovered that the original Desiree, Glynis Johns, was able to sing (she had a "small, silvery voice") but could not "sustain a phrase", he devised the song "Send in the Clowns" for her in a way that would work around her vocal weakness, e.g., by ending lines with consonants that made for a short cut-off. "It is written in short phrases in order to be acted rather than sung ... tailor-made for Glynis Johns, who lacks the vocal power to sustain long phrases."

In analyzing the text of the song, Max Cryer wrote that it "is not intended to be sung by the young in love, but by a mature performer who has seen it all before. The song remains an anthem to regret for unwise decisions in the past and recognition that there's no need to send in the clowns – they're already here."

Graham Wolfe has argued, "What Desirée is referring to in the famous song is a conventional device to cover over a moment when something has gone wrong on stage. Midway through the second Act she has deviated from her usual script by suggesting to Fredrik the possibility of being together seriously and permanently, and, having been rejected, she falters as a show-person, finds herself bereft of the capacity to improvise and wittily cover. If Desirée could perform at this moment – revert to the innuendos, one-liners and blithe self-referential humour that constitutes her normal character – all would be well. She cannot, and what follows is an exemplary manifestation of Sondheim’s musico-dramatic complexity, his inclination to write music that performs drama. That is, what needs to be covered over (by the clowns sung about in the song) is the very intensity, ragged emotion and utter vulnerability that comes forward through the music and singing itself, a display protracted to six minutes, wrought with exposed silences, a shocked Fredrik sitting so uncomfortably before Desirée while something much too real emerges in a realm where he – and his audience – felt assured of performance."

Influences
There is a Mozart reference in the title—A Little Night Music is an occasionally-used translation of Eine kleine Nachtmusik, the nickname of Mozart's Serenade No. 13, K. 525. The elegant, harmonically-advanced music in this musical pays indirect homage to the compositions of Maurice Ravel, especially his Valses nobles et sentimentales (whose opening chord is borrowed for the opening chord of the song "Liaisons"); part of this effect stems from the style of orchestration that Jonathan Tunick used. There is also a direct quotation in 'A Weekend in the Country' (just as it moves to A♭ major for the last time in the final section of the number) of Octavian's theme from Strauss' 'Der Rosenkavalier', another comedy of manners with partner-swapping at its heart.

Orchestration
The original Broadway pit consisted of a 17 piece orchestra.

 * Strings: 2 violins 1 viola, 1 cello, 1 bass, 1 harp
 * Brass: 2 trumpets (1 player), 3 horns, 1 trombone
 * Keyboards: 1 piano/celesta
 * Woodwinds:
 * Reed 1: alto flute, flute, piccolo
 * Reed 2: clarinet, flute
 * Reed 3: bass clarinet, clarinet
 * Reed 4: English horn, oboe
 * Reed 5: bassoon, clarinet
 * Percussion: (1 player) bells, crotales, snare drum, triangle, tympani, xylophone

The 2008 revival of the show modified the orchestrations to an 8 piece pit, re-orchestrated by Jason Carr.

 * Strings: 1 violin 1 viola, 1 cello, 1 bass, 1 harp
 * Keyboards: 1 piano/synthesizer
 * Woodwinds: 1 player
 * Bassoon: 1 player

Cast recordings
In addition to the original Broadway and London cast recordings, and the motion picture soundtrack (no longer available), there are recordings of the 1990 studio cast, the 1995 Royal National Theatre revival (starring Judi Dench), and the 2001 Barcelona cast recording sung in Catalan. In 1997 an all-jazz version of the score was recorded by Terry Trotter.

The 2009 Broadway revival with Catherine Zeta-Jones and Angela Lansbury recorded a cast album on January 4, 2010, which was released on April 6.

Critical response
In his review of the original 1973 Broadway production, Clive Barnes in The New York Times called the musical "heady, civilized, sophisticated and enchanting." He noted that "the real triumph belongs to Stephen Sondheim...the music is a celebration of 3/4 time, an orgy of plaintively memorable waltzes, all talking of past loves and lost worlds...There is a peasant touch here." He commented that the lyrics are "breathtaking".

In its review of the 1989 London revival, the reviewer for The Guardian wrote that the "production also strikes me as infinitely superior to Harold Prince's 1975 version at the Adelphi. Mr Judge's great innovation is to transform the Liebeslieder Singers from the evening-dressed, after-dinner line-up into 18th century ghosts weaving in and out of the action...But Mr Judge's other great realisation is that, in Sondheim, the lyrics are not an adornment to a song but their very essence: understand them and the show will flow. Thus Dorothy Tutin as Desiree, the touring thesp eventually reunited with her quondam lover, is not the melting romantic of previous productions but a working mother with the sharpness of a hat-pin."

The Independent review of the 1995 National Theatre revival praised the production, writing "For three hours of gloriously barbed bliss and bewitchment, Sean Mathias's production establishes the show as a minor miracle of astringent worldly wisdom and one that is haunted by less earthy intimations." The review went on to state that "The heart of the production, in both senses, is Judi Dench's superb Desiree Armfeldt...Her husky-voiced rendering of "Send in the Clowns" is the most moving I've ever heard."

In reviewing the 2008 Menier Chocolate Factory production, the Telegraph reviewer wrote that "Sondheim's lyrics are often superbly witty, his music here, mostly in haunting waltz-time, far more accessible than is sometimes the case. The score positively throbs with love, regret and desire." But of the specific production, the reviewer went on to note: "But Nunn's production, on one of those hermetic sets largely consisting of doors and tarnished mirrors that have become such a cliché in recent years, never penetrates the work's subtly erotic heart. And as is often the case with this director's work, the pace is so slow and the mood so reverent, that initial enchantment gives way to bored fidgeting."

In his New York Times review of the 2009 Broadway production, Ben Brantley noted that "the expression that hovers over Trevor Nunn's revival...feels dangerously close to a smirk...It is a smirk shrouded in shadows. An elegiac darkness infuses this production." The production is "sparing on furniture and heavy on shadows", with "a scaled-down orchestra at lugubriously slowed-down tempos..." He goes on to write that "this somber, less-is-more approach could be effective were the ensemble plugged into the same rueful sensibility. But there is only one moment in this production when all its elements cohere perfectly. That moment, halfway through the first act, belongs to Ms. Lansbury, who has hitherto been perfectly entertaining, playing Madame Armfeldt with the overripe aristocratic condescension of a Lady Bracknell. Then comes her one solo, "Liaisons", in which her character thinks back on the art of love as a profession in a gilded age, when sex 'was but a pleasurable means to a measurable end.' Her face, with its glamour-gorgon makeup, softens, as Madame Armfeldt seems to melt into memory itself, and the wan stage light briefly appears to borrow radiance from her. It's a lovely example of the past reaching out to the present..."

Steven Suskin, reviewing the new Broadway cast for Variety, wrote "What a difference a diva makes. Bernadette Peters steps into the six-month-old revival of A Little Night Music with a transfixing performance, playing it as if she realizes her character's onstage billing -- "the one and only Desiree Armfeldt"—is clichéd hyperbole. By figuratively rolling her eyes at the hype, Peters gives us a rich, warm and comedically human Desiree, which reaches full impact when she pierces the façade with a nakedly honest, tears-on-cheek 'Send in the Clowns.'"

title: A Little Night Music


text:
Dual wield

Dual wielding is the technique of using two weapons, one in each hand, for training or combat. It is not a common combat practice. Although historical records of dual wielding in war are limited, there are numerous weapon-based martial arts that involve the use of a pair of weapons. The use of a companion weapon is sometimes employed in European martial arts and fencing, such as a parrying dagger. Miyamoto Musashi, a Japanese swordsman and ronin, was said to have conceived of the idea of a particular style of swordsmanship involving the use of two swords.

In terms of firearms, especially handguns, dual wielding is generally denounced by firearm enthusiasts due to its impracticality. Though using two handguns at the same time confers an advantage by allowing more ready ammunition, it is rarely done due to other aspects of weapons handling. Dual wielding, both with melee and ranged weapons, has been popularized by fictional works (film, television, and video games).

History
Dual wielding has not been used or mentioned much in military history, though it appears in weapon-based martial arts and fencing practices.

Dimachaerus were a type of Roman gladiator that fought with two swords. The name is the Latin-language borrowing of the Greek word διμάχαιρος meaning "bearing two knives" (di- dual + machairi knife) Thus, an inscription from Lyon, France, mentions such a type of gladiator, here spelled dymacherus. The dimachaeri were equipped for close-combat fighting. A dimachaerus used a pair of siccae (curved scimitar) or gladius and used a fighting style adapted to both attack and defend with his weapons rather than a shield, as he was not equipped with one.

The use of weapon combinations in each hand has been mentioned for close combat in western Europe during the Byzantine, Medieval, and Renaissance era. The use of a parrying dagger such as a main gauche along with a rapier is common in historical European martial arts.

North American Indian tribes of the Atlantic northeast used a form involving a tomahawk in the primary hand and a knife in the secondary. It is practiced today as part of the modern Cree martial art Okichitaw.

All the above-mentioned examples, involve either one long and one short weapon, or two short weapons. An example of a dual wield of two sabres is the Ukrainian cossack dance hopak.

Asia
During the campaign Muslim conquest in 6th to 7th century AD, a Rashidun caliphate general named Khalid ibn Walid was reported to favor wielding two broad swords, with one in each hand, during combat.

Traditional schools of Japanese martial arts include dual wield techniques, particularly a style conceived by Miyamoto Musashi involving the katana and wakizashi, two-sword kenjutsu techniques he called Niten Ichi-ryū.

Eskrima, the traditional martial arts of the Philippines teaches Doble Baston techniques involving the basic use of a pair of rattan sticks and also Espada y daga or Sword/Stick and Dagger. Okinawan martial arts have a method that uses a pair of sai.

Chinese martial arts involve the use of a pair of butterfly swords and hook swords.

Famed for his enormous strength, Dian Wei, a military general serving under the warlord Cao Cao in the late Eastern Han dynasty of China, excelled at wielding a pair of ji (a halberd-like weapon), each of which was said to weigh 40 jin.

Chen An, a warlord who lived during the Jin dynasty (266–420) and Sixteen Kingdoms period, wielded a sword and a serpent spear in each hand, supposedly measuring at 7 chi and 1 zhang 8 chi respectively.

During Ran Wei–Later Zhao war, Ran Min, emperor of the short-lived Ran Wei empire of China, wielded two weapons, one in each hand, and fought fiercely, inflicting many casualties on the Xianbei soldiers while mounted on the famous horse Zhu Long ("Red Dragon").

Gatka, a weapon-based martial art from the Punjab region, is known to use two sticks at a time.

The Thailand weapon-based martial art Krabi Krabong involves the use of a separate Krabi in each hand.

Kalaripayattu teaches advanced students to use either two sticks (of various sizes) or two daggers or two swords, simultaneously.

Modern
The use of a gun in each hand is often associated with the American Old West, mainly due to media portrayals. It was common for people in the era to carry two guns, but not to use them at the same time, as shown in movies. The second gun served as a backup weapon, to be used only if the main one suffered a malfunction or was lost or emptied.

However, there were several examples of gunmen in the West who actually used two pistols at the same time in their gunfights:
 * John Wesley Hardin killed a gunman named Benjamin Bradley who shot at him, by drawing both of his pistols and firing back.
 * The Mexican vaquero Augustine Chacon had several gunfights in which he was outnumbered by more than one gunman and prevailed by equipping himself with a revolver in each hand.
 * King Fisher once managed to kill three bandits in a shootout by pulling both of his pistols.
 * During the infamous Four Dead in Five Seconds Gunfight, lawman Dallas Stoudenmire pulled both of his pistols as he ran out onto the street and killed one bystander and two other gunmen.
 * Jonathan R. Davis, a prospector during the California Gold Rush, was ambushed by thirteen outlaws while together with two of his comrades. One of his friends was killed and the other was mortally wounded during the ambush. Davis drew both of his revolvers and fired, killing seven of the bandits, and killing four more with his bowie knife, causing the final two to flee.

Dual wielding two handguns has been popularized by film and television.

Effectiveness
MythBusters compared many firing stances, including having a gun in each hand, and found that, compared to the two-handed single-gun stance as a benchmark, only the one-handed shoulder-level stance with a single gun was comparable in terms of accuracy and speed. The ability to look down the sights of the gun was given as the main reason for this. In an episode the following year, they compared holding two guns and firing simultaneously—rather than alternating left and right shots—with holding one gun in the two-handed stance, and found that the results were in favor of using two guns and firing simultaneously.

In media

 * The Teenage Mutant Ninja Turtles features dual wielding being done by Leonardo with two katana swords, Raphael with two sais, and Michelangelo with two nunchucks. Sometimes, their arch enemy known as the Shredder dual wields with many weapons.
 * Princess Mononoke features Lady Eboshi dual wielding with a katana sword and a hairpin.
 * The Marvel Comics features dual wielding being done by Deadpool with two katana swords, Nightcrawler with two sabres, Elektra with two sais, and Black Widow with two pistols and two batons.
 * The DC Comics features Dick Grayson and Barbara Gordon dual wielding two bastons.
 * The Star Wars franchise features many characters dual wielding two lightsabres or more including Anakin Skywalker, Ahsoka Tano, and General Grievous. Star Wars: The Clone Wars features Palpatine and his former apprentice, Darth Maul, dual wielding two lightsabres each. Also, franchise features characters dual wielding two blaster pistols including Jango Fett and Bo-Katan Kryze.
 * The Halo franchise allows you to have two select weapons in Halo 2 and Halo 3.
 * The Chronicles of Narnia: The Lion, the Witch and the Wardrobe features the noble centaur general Oreius dual wielding two longswords, and also the oppressive White Witch doing the same. It also features the Minotaur general Otmin dual wielding a falchion sword and a battle axe.
 * Ip Man 3 features butterfly swords being dual wielded by Ip Man and Cheung Tin-chi.
 * The Hobbit and The Lord of the Rings features the virtuous wizard Gandalf dual wielding a magic staff and a mystic longsword.
 * The Mummy Returns features the adventurous Egyptologist ''Evelyn O'Connell and the treacherous Anck-su-namun dual wielding two sais.
 * The Pirates of the Caribbean features characters dual wielding two swords including Jack Sparrow, Will Turner, and Elizabeth Swann.
 * The martial arts movie Crouching Tiger, Hidden Dragon features Michelle Yeoh as Yu Shu Lien dual wielding with a dao sword which split to two, and then with two hook swords.
 * The Three Musketeers features many characters dual fighting with rapiers and daggers.
 * Mighty Morphin Power Rangers features Tommy Oliver dual wielding a sword and a dagger.
 * Robin of Sherwood features Nasir, a Saracen assassin who dual wields two scimitars.
 * Avatar: The Legend of Aang features dual wielding done by Zuko with two dao swords, Jet with two hook swords, Suki with two war fans, and Sokka with a machete along a club or a boomerang.
 * The Transformers features dual wielding being done by many characters including Optimus Prime and Optimus Primal with two swords.
 * Kung Fu Hustle features iron rings being dual wielded by the humble tailor of Pigsty Alley.
 * Power Rangers: Jungle Fury features dual wielding being done by Casey Rhodes with two nunchakus and also two dao-themed Shark Sabres, Theo Martin with two tonfas and then two tessan-themed Jungle Fans, and Camille with two sais.
 * In the Marvel Cinematic Universe martial arts film Shang Chi and the Legend of the Ten Rings features the Ten Rings be dual wielded by Wenwu, the MCU version of the Mandarin, and then by Shang Chi, his son.
 * The musical version of The Lion King features Mufasa and his son Simba dual wielding two akrafena swords to fight.
 * Lara Croft, the heroine of the Tomb Raider franchise dual wields two pistols.

 * Dante (Devil May Cry), the protagonist of the "Devil May Cry" series dual wields two pistols named Ebony and Ivory

title: Dual wield