Review Roundup: Asolo Rep Kicks Off 60th Season with THE MUSIC MAN

Asolo Rep proudly kicks off its 60th season with a highly imaginative production of Meredith Willson's Tony Award-winning exuberant masterpiece THE MUSIC MAN. Directed by Tony nominee Jeff Calhoun (Newsies), this tap dancing-infused production stars legendary Broadway song and dance man Noah Racey as Harold Hill.

THE MUSIC MAN opened November 17 and runs through December 29 in the Mertz Theatre, located in the FSU Center for the Performing Arts.

Season subscriptions for the 2018-19 season are on sale now and available by visiting the Asolo Rep Box Office, located in the lobby of the theatre, 5555 N. Tamiami Trail in Sarasota, by calling 941.351.8000 or 800.361.8388 or online at www.asolorep.org. Single tickets will go on sale in September 2018.

Let's see what the critics have to say!

Kay Handelman, Herald Tribune: At Asolo Rep, they infuse tap dancing into Meredith Willson's rhythmic score to help tell the story of how the traveling salesman and con man Professor Harold Hill works to win sales for band instruments from the gossipy but wary residents of River City, Iowa. Harold arrives with a number of envious salesmen, who bounce and sway and make you see and feel the movements of a train that isn't really there in the opening number "Rock Island." They are eager to see Harold fail after he has caused them problems elsewhere with his shady sales practices and his way of leaving behind a string of female conquests.

Kay Kipling, Sarasota Magazine: Racey's dancing, and his connection with the audience, are stronger than his vocals; he's not a great singer, technically, but then I'm not sure Robert Preston, who owned the role originally, was, either. It's a credit to the Asolo production that we're not drawn to constantly compare the film version many of us recall with this one, which stands on its own.

Mary Fugate, YourObserver: Racey's Harold Hill is the quintessential confidence man. Like the Wizard of Oz, he fills people with confidence. He makes them believe in themselves, despite all objective evidence to the contrary. And whenever a posse of upright citizens tries to obtain Hill's bona fides, he deflects them with flattery, and turns them into barbershop quartets and dance ensembles. Hill fills the prepubescent marching band with the same self-esteem. But Marian is more than his match. She can easily seem like a prim, goody two-shoes. But in Coleman's characterization, she's the only person in town with any good sense - and she sensibly sees right through this fast-talking "music man." Her Marian is immune to Hill's con artistry, but not his charm. (In the #MeToo era, his persistent stalking gets a tad creepy.)

Peter Nason, BroadwayWorld: You wouldn't think that a show like this would connect with those of us who like our shows darker and edgier, but Willson's world contains so much infectious energy and life, that it had me at the first note of "76 Trombones" in the Overture. For those of us who always questioned why it won the Tony Award over West Side Story, we may not disagree with those Tony voters after watching the Asolo treatment.

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