An American Musical Classic

The Music Man

Meredith Willson’s very first musical, and his magnum opus, is undeniably one of the best-loved classics of the American musical stage. As one of the most perfectly written of all musicals, it doesn’t simply feature a few main characters backed up by a chorus of nameless, dancing singers who only appear during the big musical numbers. Each and every character in this show is unique individual with his own personality and backstory. And that alone makes this show very special, both as an actor and as a theatergoer.

Brilliantly and creatively guided with sharp focus and incredible energy by talented Director/Choreographer Katie Spelman (ONCE, at Writers Theatre, THE NOTEBOOK, currently on Broadway), she continually fills the Marriott stage with focused book scenes and astonishing musical numbers. The production radiates with intricate choreography, pulsating rhythms and subtle movement. The show dazzles as performed by a very large, truly multi-gifted cast of triple threats. 

As American as apple pie and the Fourth of July, THE MUSIC MAN opened on Broadway back in 1957. The show instantly became a hit, both with critics and the public alike. The show, which New York Times critic Brooks Atkinson called “a rhythmic lark” and “a marvelous show, rooted in wholesome and comic tradition,” deservedly earned five Tony Awards, including Best Musical. It’s been remounted on Broadway several times, most recently with Hugh Jackman and Sutton Foster in the leading roles. This infectious piece of theatre is funny, romantic and fine family fare.

Willson wrote a score that was, and still is, unparalleled. It features a wide 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 gorgeous, close harmonies of a 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 as in any show on Broadway today.

For those 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. Meredith Willson spins a captivating tale about a con man named Harold Hill who, posing as the organizer of boys’ bands, sets out to bamboozle the innocent citizens of River City. He first sells them musical instruments, then flashy uniforms, and finally instruction books. He tells the kids to employ his revolutionary new “think system” to master the music, which he likened to whistling. Being without any musical talent of his own, Harold plans to make a financial killing, seduce Marian Paroo, the local librarian/piano teacher, and skip town on the next train. But, as in any good play, Hill’s plan goes awry, even though 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 a most insistent ear worm, “Seventy-Six Trombones.” Under the skillful musical direction of Ryan T. Nelson, Ms. Spelman’s 37-member cast sounds magnificent; and her choreography infuses every moment with lots of spirit and style. Every single character dances at some point, and those are thee moments that highlight this musical comedy.    

Katie Spelman’s production feels particularly fresh and new, which is quite an achievement for a musical that’s 67 years old! And kudos to this talented director who knows how to skillfully stage a show in-the-round, not an easy task. But there are so many innovative moments in this production that even theatergoers familiar with this musical will discover surprises. In the show’s rousing opening number, for instance, set to the increasing rhythm of the locomotive in which they’re traveling, a group of salesmen lament about the many changes they’ve seen over time. However, this group of men, because of the Marriott’s arena stage, are staged as if in a kind of meeting room, with the salesmen seated all over the stage, bouncing off their sales cases. Because of Spelman’s staging, everyone is visible. 

Another change is a how the production ends. Often, after the kids’ band show off their shaky musical skills, the curtain rises again with a more rousing, well-tuned rendition of the audience favorite, “Seventy-Six Trombones.” But in Katie Spelman’s production, the show ends more simply, sweetly and honestly, focused on Marian and Harold.

Another interesting change is how leading actor KJ Hippensteel portrays Harold Hill. The handsome, talented young actor returns to the Marriott following his hilarious portrayal of Nick Bottom in SOMETHING ROTTEN. On Broadway Mr. Hippensteel dazzled audiences in shows like BOOK OF MORMON and SOME LIKE IT HOT. The actor plays Professor Hill as a young ball-of-fire, but a more lissome and lively version of actor Robert Preston, the originator of the role. There are some lovely, quieter scenes in Act II when the charismatic actor is given time to show the moment when the fast-talking traveling salesman “finally gets his foot caught in the door.” KJ Hippensteel, who sings beautifully, dances gracefully, has charm to spare and chooses to underplay the character’s effervescence at these times. He saves the driving, persistent vitality normally associated with this character for certsom key scenes. Still creating a likable, convincing Harold Hill, KJ Hippensteel makes the unflappable wheeler-dealer seem more layered and realistic and not simply one-note.

Theatergoers may recognize Alexandra Silber, the lovely actress playing Marian Paroo, from her appearances on “Law & Order” and “Elementary.” The classically trained soprano has also been seen in productions of FIDDLER ON THE ROOF and MASTER CLASS. Here she’s a fine match for Hippensteel’s Harold Hill. She plays Marian with a defiant dose of spunk, but with a calm-and-collected demeanor that strays only occasionally. For example, Marian becomes a little frazzled when trying to keep order during the raucous “Marian the Librarian” scene, one of the show’s excellent production numbers. She also breaks out of character and 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 Ms. Spelrman’s production really lies in the casting of her talented ensemble. From “Iowa Stubborn” to “The Wells Fargo Wagon,” each actor gets his or her own moment to shine. Each gravity-defying dancer is magnificent in every carefully choreographed scene. Standout comedic performances include Ron E. Rains’ portrayal of anvil salesman Charlie Cowell, which is work of hilarity; the brilliantly inspired casting of Alex Goodrich as a younger, more befuddled and tongue-tied Mayor Shinn is pure comic genius. The always wonderful Janet Ulrich Brooks (so marvelous as Yente in Drury Lane’s recent FIDDLER ON THE ROOF) is absolute perfection as Marian’s Irish mother, Mrs. Paroo. And Kai Edgar, the gifted young actor who recently wowed audiences in Marriott’s JAMES AND THE GIANT PEACH, is possibly the best Winthrop Paroo I’ve ever seen or heard! This very talented youth deserves his own starring role in another show real soon.

 Naya Rosalie James is hilarious as the Mayor’s younger daughter, Gracie, who continually mimics her father’s every move; and Melanie Loren is quite funny as his wife, the leader of the Grecian Urn ladies, Eulalie Mackecknie Shinn. Emily
Ann Brooks and Sam Linda are stunningly athletic dancers and so likable as the young forbidden lovers, Zaneeta Shinn and bad boy Tommy Djilas; and Michael Earvin Martin, last seen in Marriott’s excellent production of BEAUTIFUL: THE CAROL KING MUSICAL, creates a delectably delightful Marcellus Washburn. The divine Lillian Castillo is, as always, a comedic standout as Alma Hix; and the four, funny, constantly quarreling school board members, who suddenly turn into a lovely barbershop quartet, are both musically talented and dryly diverting. They include Michael Mahler, Matt Edmonds, Quinn Rigg and Michael Potsic.

Katie Spelman’s inventive production is visually lovely, as well. Staged with continual motion upon Collette Pollard’s sparse and simplified Scenic Design, framed overhead by a collection of shop awnings and Victorian latticework, it’s beautifully lit by Jesse Klug. Raquel Adorno has designed and executed a large wardrobe of costumes that dazzle with color and turn-of-the-century style and detail, all accented by Miguel A. Armstrong’s perfectly coiffed wigs. Michael Daly’s diligent Sound Design provides an audible background for this show that resonates with both time and place. 

This perfectly written American musical classic, guided by nationally-known, artistically accomplished Director and Choreographer Katie Spelman, should not be missed. Every single actor brings his or her own special skills to the stage to make this show feel especially fresh and new. The production offers a score of gorgeous music, beautifully sung and accompanied by Kevin Reeks’ talented nine-member pit orchestra. The enormous and talented cast creates a community of funny and unforgettable characters that keep the Meredith Willson much-loved portrait of Americana feeling delightfully distinct and deliciously different. You really ought to give Iowa a try!

Highly Recommended

Reviewed by Colin Douglas

Presented April 10-June 2 by the Marriott Theatre, 10 Marriott Drive, Lincolnshire, IL.

Tickets are available in person at the box office, by calling the Marriott at 847-634-0200 or by going to www.MarriottTheatre.com.

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