Till There Was You

The Music Man – Goodman Theatre

So suitable for the lazy days of summer is this musical that’s as American as apple pie and the Fourth of July. Opening on the Great White Way back in 1957, the show deservedly scored five Tony Awards, including Best Musical. It’s been remounted on Broadway several times and is about to received another revival later this year, with Hugh Jackman and Sutton Foster in the leading roles. This is a funny, romantic, wholesome and infectious piece of theatre that’s truly unparalleled.Meredith Willson’s magnum opus is undeniably one of the classics of the American musical theatre. As the most perfectly written of all musicals, it doesn’t simply feature a few leading characters backed up by a chorus of dancing singers who only appear during the big musical numbers. Each and every person in this show is a unique character, an individual with his own personality and backstory. And that alone makes this show very special, both to be a part of and to enjoy as a theatergoer. 

In addition, Willson wrote a score that was, and still is, unprecedented. It features a variety of musical styles: rousing marches, romantic ballads, fast-paced patter songs that may have paved the way for rap music, a variety of clever, whimsical novelty numbers and even the close harmonies of barbershop quartet. It’s guaranteed that theatergoers will leave the theatre humming at least one or more of these songs. And the big, full-company numbers in this production are as spectacular and  exciting and as in any show on Broadway, understandable, since Tony-nominated choreographer Denis Jones is currently represented on Broadway with “Tootsie.”

For anyone unfamiliar with “The Music Man,” either on stage or in its faithful 1962 film adaptation, this is an original story. The musical’s set in 1912 in a fictional, small Iowa town. Willson spins a captivating tale about a con man named Harold Hill who, posing as the organizer of a boys’ band, sets out to bamboozle the innocent citizens of River City. He sells them musical instruments, flashy uniforms, and instructs the kids to use his  revolutionary new “think system” for mastering the music. Being without any musical talent of his own, Harold plans to make a financial killing, seduce the local librarian/piano teacher, Marian Paroo, and skip town on the next train. But, as in any good play, Hill’s plan goes awry but everything ends happily.

The show’s filled with wonderful songs that’ve become classics. They include “Goodnight My Someone,” “My White Knight,” “Goodnight Ladies,” “The Wells Fargo Wagon,” “Pick-a-Little, Talk-a-Little,” “Lida Rose,” “Till There Was You” and, the song that’s the most insistent ear worm, “Seventy-Six Trombones.” Under the energetic musical direction of Jermaine Hill, Ms. Zimmerman’s cast sounds magnificent; and Denis Jones choreographs everything with spirit and style. Every single character dances, at some point, and those moments are the highlights of this musical.  

Mary Zimmerman’s newly-conceived production may not be groundbreaking, but there are enough innovative moments that theatergoers familiar with this musical will find a few surprises. In the show’s rousing opening number, set to the rhythm of the locomotive on which they’re traveling, a group of sales people lament about the changes they’ve seen. However, this group isn’t just a men’s club: it also includes a cigar-smoking woman salesperson. Another change is a decision to change the local place for romantic assignations from a footbridge to a water tower. Then there’s the way this production ends. Often, after the kids’ band show off their shaky musical skills, the curtain rises again with another rousing rendition of “Seventy-Six Trombones.” But in Mary Zimmerman’s production, the show ends more simply, with Marian and Harold embracing each other.

Another change is how Geoff Packard has been directed to play Harold Hill. The handsome, talented young actor returns to Chicago, following his leading, award-winning roles in Ms. Zimmerman’s previous Goodman productions of “The Jungle Book” and “Candide.” On Broadway Mr. Packard has dazzled audiences in such musicals as “Phantom of the Opera,” “Rock of Ages,” “Matilda” and “Bandstand.” Unfortunately, audiences familiar with this show find it difficult to erase the strong memory of Robert Preston, the charismatic actor who originally created this fast-talking traveling salesman who “finally gets his foot caught in the door.” Geoff Packard, who sings beautifully, dances divinely and has charm to spare, doesn’t play Harold Hill to most theatergoer’s expectations. He underplays the character’s effervescent personality and the driving, persistent vitality normally associated with this character. Packard still creates a likable, convincing Harold Hill in this production, but he’s an unflappable wheeler-dealer, and a just a bit more laid back.

Theatergoers who frequent Chicago’s wonderful Lookingglass Theatre may recognize Monica West, the lovely actress playing Marian Paroo. She’s been seen in their productions of “Moby Dick” and “Eastland,” but here she’s a very good match for Geoff Packard’s Harold Hill. She plays Marian with a refined, calm and collected demeanor that strays only occasionally. She becomes a little frazzled when trying to keep order during the raucous “Marian the Librarian” production number. She also kicks up her heels dancing the “Shipoopi,” along with the rest of the cast, but Marian finally lets down her hair in her lovely confession of love, “Till There Was You.”

The strength of Mary Zimmerman’s cast lies in her phenomenally talented character ensemble. From “Iowa Stubborn” to “The Wells Fargo Wagon,” each actor gets his own moment to shine. The gravity-defying dancers are all magnificent; Matt Crowle’s Charlie Cowell is work of comic genius; Ron E. Rains is a very funny tongue-tied Mayor Shinn; the incomparable Heidi Kettenring is exquisitely funny as his wife, the leader of the Grecian Urn ladies, Eulalie Mackecknie Shinn. The always wonderful Mary Ernster is absolute perfection as Marian’s Irish mother, Mrs. Paroo; Kelly Felthous and Tommy Rivera-Vega are both stunningly athletic dancers and as cute as can be as young lovers, Zaneeta Shinn and Tommy Djilas; Jonathan Butler-Duplessis makes a delightfully joyful Marcellus Washburn; the divine Lillian Castillo is an absolute stitch as Ethel Toffelmier, the pianola player; young Carter Graf makes a terrific Winthrop, Marian’s shy, younger brother; and the four, ever-quarreling school board members, who suddenly turn into a barbershop quartet, are both musically talented and dryly funny: Jonathan Schwart, Jeremy Peter Johnson, Christopher Kale Jones and James Konicek.

Staged upon Dan Ostling’s simplified, mobile period scenic design, framed by four wooden, shiplap prosceniums, and beautifully lit by T.J. Gerckens, Mary Zimmerman’s production is visually lovely, as well. Ana Kuzmanic has designed and executed a huge wardrobe of costumes that dazzle with color and turn-of-the-century style and detail; and Ray Nardelli’s sound design paints an audible background for this show that resonates with both time and place. This is not-to-be-missed musical classic, guided by Mary Zimmerman, one of the theatre’s finest directors, that offers gorgeous music, delightful characters and a few new elements that keep the play fresh and feeling new.

Highly Recommended

Reviewed by Colin Douglas

Presented July 9-August 18 by the Goodman Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org/MusicMan.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.