It could also do with a few more memorable tunes from Erran Baron Cohen (brother of Sacha), whose perky pop score mixes rap and gospel and ballad.
This is helped by Alexander Parsons' impressive score, mixing tinges of the music the kids listen to with his own emotive arrangements.
The relationship plays out in touch-me, don't-touch-me partnering, as Jane Shaw's sound score mixes a Czech lullaby with the grinding of gears and chains.
Having two Vivs, the older and younger versions, constantly on stage works particularly well, and Brown's score – mixing styles and influences from English folk to popular music of the period – is a pleasure.
Mr. Glass's score mixes mildly angular vocal lines into his signature torrent of swirling woodwind figures and string arpeggios, and it relies more heavily than usual on varied, assertive percussion textures and rich choral writing.
Brown's score mixes lush, romantic strings evocative of Italy with decidedly American influences — blues, folk, country and early rock 'n' roll.
In performance, the score's mix of existential angst and Alpine escapism tends to produce a similarly mixed response: Toscanini thought it Tchaikovsky's greatest music; Leonard Bernstein rubbished it.
A pitch-perfect 20-member cast performs the beautiful score, a mix of klezmer, waltz, opera and Russian ballads, played by an excellent 14-piece orchestra, under the baton of Zalman Mlotek.
Progress on this score is mixed.
And on this, his score was mixed.
