With frill, lace, and fanciful grace, Germantown Academy enchanted in its lovely production of Stephen Sondheim's 1973 opus A Little Night Music.

Through the sweeping, coquettish countryside of turn-of-the-century Sweden, A Little Night Music, with score and lyrics by Stephen Sondheim and a book by Hugh Wheeler, weaves a tale of romance, envy and loss of innocence. First hitting Broadway in 1973 under direction of the legendary Harold Prince and based on the Ingmar Bergman film Smiles of a Summer Night, the piece tells of Frederik Egerman (Erik Rogers), a prominent, aging lawyer wedded to the considerably younger and perfectly darling Anne (Ally Doman). When Anne refuses intimacy, Frederik becomes restless and seeks out old flame and actress Desiree Armfeldt (Anna Flynn-Meketon), but when lovers, mothers, and a weekend in the country are let to brew, a comedy of errors ensues.

Germantown Academy gave an engaging performance, captained by vocally powerful leads and a focused, animated ensemble. Tackling masterfully the demanding score, the cast spun delicate choral works with studious effort. And with a show laden with euphemism, the cast gave the production a sophisticated devilish edge.

As Frederick, Erik Rogers sang a smooth, controlled tenor and exhibited a worldly, wisened portrayal. Flynn-Meketon as Desiree emanated maturity and extravagance, sporting tasteful simplicity in her moving take on "Send in the Clowns."

Ally Doman glistened in her near-flawless depiction of Anne. With a flowing, songbird soprano, her every expression told a thousand tales, revealing a wonderfully developed, dainty character edged with a conniving bite. Hilarious, too, was Sam Pottash as Desiree's mother, Madame Armfeldt, portraying a character of the opposite sex with matronly "warmth" that he had little trouble fooling. His clear voice and morose wit truly entertained.

The work's ensemble wove seamlessly around the stage, providing energy and well-executed choreography. The select ensemble a la Greek chorus, known as the Quintet, set an elegant tone for the show, tying loose ends and singing through transitions.

Imperial balcony structures and cool, summer lights gave the piece a painted air in Katie Burkhart's striking set design. The use of a screen to display images of characters' memories honed in on the quaint, nostalgic undercurrent in the story.

Lamenting regal times of yore, Madame Armfeldt crooned, "Where is style?" The answer lay all around her, as Germantown Academy performed splendidly with charming poise and the very essence of style.