BWW Reviews: MUSIC MAN Marches Melodically Onto Moonlight Stage

The Music Man/ book, lyrics & music by Meredith Willson/directed & choreographed by John Vaughn/Moonlight Amphitheatre, Vista through August 1

What do the 1950s have in common with 1912? Ages of innocence, both. When Meredith Willson wrote his story with Franklin Lacey about a con artist bamboozling an Iowa town in 1912, which formed the substance of his musical The Music Man (1957), the effect became like that of N. Richard Nash's The Rainmaker. People were jubilant, ecstatic and welcomed Professor Harold Hill, as they craved a good old-fashioned love story coated with ironic excitement. He was a charmer, and they saw way past his bad side. Now in a spirited new production at Moonlight Amphitheatre, Vista , the company pulls out all the stops and yet presents a delightfully down.to.earth show that keeps the flavor of Meredith Willson in tact. With fast-paced direction from John Vaughn and a splendid cast led by David Engel as Hill , The Music Man offers an unrealistic yet refreshing look at the way life should be.

We're aware of Hill's fraudulent ways at the very top on a train to River City. He sits quietly behind a newspaper, face not seen, as traveling salesmen, including Charlie Cowell (Paul Morgavo), decry his con throughout the territory and threaten to hunt him down and turn him into the feds, "Rock Island". But, Hill eludes them. His manner is so overly friendly and assuring that even the townspeople of River City gradually buy into the scam and put up hard earned money to purchase band uniforms and instruments for their children. The hope is that Hill will teach them how to play. Librarian and music teacher Marian Paroo (Alessa Neeck) is the most difficult for Hill to convince, but when she sees how her little brother Winthrop (Elliot Weaver) becomes excited by the prospect of playing in the band, she gives in, even though she has researched Hill's claim to a musical background in Gary, Indiana and knows it's a lie. You see, Marian may be a stubborn catch for Hill, but when she falls, she falls hard... in love, that is. When the instruments arrive by coach, she's hooked. Hill has one friend in town, Marcellus Washburn, a reformed con (Bryan Banville), who is his constant ally.

Hill's method of instruction is "the think system", another meaningless fraud. Or is it? It's sure doing something to perk up the lives of the townsfolk! Of course, salesman Charlie Cowell's pursuit of Hill does not cease. He even tries to charm Marian to get her to tell him where Hill is. If you know the story or have seen the 1962 film with Robert Preston and Shirley Jones, there's nothing to worry about as a happy ending is on the horizon. This is the early 20th century after all, and even con men can turn their lives around and settle down. Look at Marcellus! And...this is a love story. ("Till There Was You")

Engel makes Harold Hill totally his own. He uses his good looks and amazing energy to the max to make his con man convincing. Engel is a great dancer, good singer and most importantly a real showman - he's adept at stopping a show - and that works perfectly in this role. Neeck is lovely as Marian. She possesses a gorgeous soprano voice and an ideal down.to.earth style which suits Marian like a glove. Jim Chovick is appropriately stubborn and tough as Mayor Shinn and Tracy Lore as his wife Eulalie is a joy to watch, as always. Susan Stuber makes a motherly Mrs. Paroo and Weaver is delightfully on target as Winthrop. Great praise to the entire ensemble of 54. Under Vaughn's skilled choreographic and directorial hand, everyone does stellar work, seen especially in the "Marian the Librarian" number - which is so detailed, with every single move precise and meaningful - as well as "Shipoopi", "Trouble" and of course, "Seventy-Six Trombones". Praise to the quartet who do some great harmonizing throughout, particularly with "Lida Rose".

Moonlight's production of The Music Man ranks right up there with the best of them. You must remember that this is a bygone era, one of gullibility yet filled with great joy. It may seem dated, but, boy oh boy, do we need some of that unconditional happiness now...desperately. And Meredith Willson's unforgettably singable score stays with you long after you leave the theatre. His rhythms were so unique and fascinating, one questions why he had only a couple of Broadway hits.

Go see, go see!

http://www.moonlightstage.com/

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