The Music Man Broadway Reviews

The musical, which opened on Thursday night at the Winter Garden Theater, only intermittently offers the joys we expect from a classic revival starring Hugh Jackman and Sutton Foster - especially one so obviously patterned on the success of another classic revival, 'Hello, Dolly!,' a few seasons back. The frenzy of love unleashed in that show by Bette Midler, supported by substantially the same creative team - including the director Jerry Zaks, the choreographer Warren Carlyle and the set and costume designer Santo Loquasto - has gone missing here, despite all the deluxe trimmings and 42 people onstage. Instead we get an extremely neat, generally perky, overly cautious take on a musical that, being about the con game of love and music, needs more danger in the telling.

Director Jerry Zaks' production is a throwback in just about every sense, for good and for bad. There are elaborate sets (by Santo Loquasto, who also did the costumes) with backdrops that suggest the work of Grant Wood - at one point, two chorus members even re-create 'American Gothic.' There's an orchestra of two dozen musicians and a cast of 40 that sometimes seems as crowded upstage as one of those high school productions that accepts everybody who auditions. Disconcertingly, there are also six principals - Tony winners all - who reinforce the glaring lack of diversity in 21st-century Broadway revivals as much as in 1912 Iowa.

The highly, if not ecstatically, anticipated revival of 'The Music Man' - pandemic-delayed and pandemic-plagued - was the obvious, if not the only, candidate to bring a jolt of much-needed excitement to the business. More's the pity, then, that this undeniably polished production, with its ticket-sales-galvanizing star, Hugh Jackman, proves to be a sadly mechanical, overproduced and overdesigned revival of a musical that needs tender care to allow its undeniable charms to bloom.

Warren Carlyle's energetic, song-and-dance choreography blends vaudeville panache, ballet and pre-Depression dance craze, hitting all the right spots at all the right angles. Still, anyone who has seen the thrilling movies of MJ or the boundary-pushing explorations of Flying Over Sunset might be left a bit un-wowed. Like so much else with this Music Man, from Loquasto's attractive, wheat-colored turn-of-the-century costumes to Brian MacDevitt's autumn lighting, the dancing is expert - effortless even - yet still and all underwhelming. The Music Man lives up to every expectation except the most crucial one: Surprise.

Marian's 'My White Knight' has been expanded by restoring a long and busy introduction that was cut from the original production. Foster speeds through the latter song so fast you'd hardly recognize it as one of The Music Man's oases of dreamy lyricism. What you get is comedy; what you lose, here and elsewhere, is the contrast of opposites-and attendant sexual chemistry-between Marian and Hill. Foster and Jackman seem to have fun together in the curtain call, tap dancing in matching white bandleader outfits, but their romance is otherwise half-hearted.

Jackman is but just one astonishing part of the subtly reworked Meredith Wilson musical that opened Thursday night at the Winter Garden Theatre. It overflows with talent, clever ideas and a hard-working multicultural cast. Sutton Foster somehow channels her inner Carole Burnett to play Hill's reluctant love interest, showing a gift for physical humor and comic timing in addition to nifty tap dancing and a gorgeous voice. If there ever was a stage match for Jackman, Foster is it.

'The Music Man,' I'm sorry to say, does not live up to our oversize expectations. Quite unexpectedly, you leave not raving about Jackman, one of Broadway's hottest sellers, but the music woman - Sutton Foster, who plays Marian 'The Librarian' Paroo. She's a wonder and the main reason to buy a ticket. Much has been made of Foster not having the soaring soprano range of Barbara Cook and Shirley Jones, but that doesn't matter. Hers is as thoughtful, funny, threatening, witty, maternal and romantic a Marian as you've ever seen. She never settles for a schoolmarm stereotype and makes 65-year-old lines fresh.

The Music Man has long had the misfortune of being both overexposed and underappreciated, a mainstay of school and amateur productions that doesn't consistently let audiences in on the sophistication and emotional honesty of Meredith Willson's score and storytelling. (Hearing that score played by a 24-piece orchestra at the Winter Garden Theatre under the baton of Patrick Vaccariello is especially gratifying here.) But there's nothing simplistic about The Music Man, and this slightly zany production, deeply felt and deeply funny, sells the show's intelligent warmth with a persuasiveness to rival Harold Hill himself.

There's nothing revelatory about this Music Man, and that's probably just as well. In its determined effort to evoke the musical comedy Broadway of yore and make us feel happy simply to be in a theater again, the show ironically feels urgently timely.

Certainly it feels like a glitzy, age-of-musicals move to cast Sutton Foster and Hugh Jackman; it's increasingly rare to see a pair of stage stars of this megawattage sing and dance together. Their celebrity and undeniable presence seem to have overcome any little concerns about fissures between the performers and their characters - there are places where Foster's mezzo strains in the high stuff and Jackman goes sour. But director Jerry Zaks solves that by bringing 'em front-and-center, to stand (or dance) on the stage lip and radiate Golden Age glamor.

Unlike, say, the daringly iconoclastic revival of Oklahoma! that played Broadway a few years back, this production of Meredith Willson's classic musical proudly revels in its old-fashionedness. Why mess with something that isn't broken, it seems to be asking, especially since we've got our stars as our ace in the hole. From his first surprise entrance (at least to those who have never seen the musical before) to his showstopping numbers 'Ya Got Trouble' and 'Seventy-Six Trombones' to his climactic moment, when he stares directly at the audience with a smile that seems to contain more gleaming teeth than there are stars in heaven, Jackman has the audience in the palm of his hand. And when Sutton finally gets to shed her character's decorousness and let loose her tremendous dancing chops, there's definitely no more trouble in River City.

Jackman runs the show, it's his show as Harold Hill. He's deflated physically from playing Wolverine, probably from all the dancing, and the non stop action. He is what you look for in a Broadway leading man, full of charisma and optimism. He beams light from the stage. For me, though, it's all about Sutton Foster. They've even created a big tap dance number at the end of the show just for her (Jackman joins her but it's spotlight). When Sutton Foster grins you can see it from all over the theater. I was at the back of the orchestra but it was clear to see how much she was enjoying the show.

Jackman runs the show, it's his show as Harold Hill. He's deflated physically from playing Wolverine, probably from all the dancing, and the non stop action. He is what you look for in a Broadway leading man, full of charisma and optimism. He beams light from the stage. For me, though, it's all about Sutton Foster. They've even created a big tap dance number at the end of the show just for her (Jackman joins her but it's spotlight). When Sutton Foster grins you can see it from all over the theater. I was at the back of the orchestra but it was clear to see how much she was enjoying the show.