Review: The MUNY's Charming Production of THE MUSIC MAN

Meredith Willson's classic musical, THE MUSIC MAN, received a lively and engaging workout on the stage of The MUNY. It's a show near and dear to my heart since I played the lead in a high school production many moons ago. It's also why I especially wanted my son to see it. Happily, he thoroughly enjoyed the show, and while there were some mistakes here and there, it was still an uplifting charmer that was filled with a slew of memorable songs and moments.

Con man Harold Hill takes on the challenge of convincing the populace of River City to assemble, through his services, a boy's brass band in order to combat the sin created by the arrival of a pool table in their fair city. But he doesn't count on falling in love with the local music teacher, and she doesn't expect to feel the way she does either. However, Hill's efforts to organize the group bring her lisping little brother, Winthrop, out of his shell. Even though the truth concerning Harold's intentions is revealed, true love and a ragged, but effective, performance by the boy's band saves the day.

Hunter Foster provided an interesting interpretation of the role of Harold Hill. Foster's portrayal lacked the necessary bluster and seamless slick talk that it requires, and a number of fluffed lines were a genuine concern. Elena Shaddow did very nice work as the oddly progressive, at least for 1912 Iowa, librarian Marian Paroo. Her sweet soprano voice was a good fit for delicate material like "My White Knight"and "Goodnight My Someone".

Todd Buonopane was effective as Marcellus Washburn, a River City citizen who used to work with Hill before he settled down. His eccentric dancing and enthusiasm during "Shipoopi" was a highlight. Liz McCartney gave Mother Paroo a warm continence and a proper Irish accent. Owen Hanford displayed the necessary lisp as Winthrop, and his cute take on "Gary, Indiana" was irresistible. Ben Nordstrom, J.D. Daw, Adam Halpin, and Joseph Torello contributed splendid barbershop harmonies as the quartet of bickering merchants that Hill brings together through music. Mark Linn-Baker provided amusement with his solid portrayal of the tongue-tied Mayor Shinn, and Nancy Anderson did the same as the Mayor's eccentric wife, Eulalie. Michael James Reed provided the edge missing in Foster's performance as anvil salesman Charlie Cowell.

Rob Ruggiero's direction is generally sharp, if a bit underdone. And, I think a disservice is done to the lead role, and that's a misstep that can't be overlooked. Chris Bailey's choreography makes the most of the few moments of dance, particularly "Shipoopi" and "Marian The Librarian." Michael Schweikardt's colorful, rotating scenic design was only flawed by the library's strange use of a barn door as its entrance. John Lasiter's lighting design and Amy Clark's wonderful costumes enlivened the proceedings considerably, and James Moore's delightful musical direction produced lovely sounds from the talented ensemble and the orchestra.

The MUNY's production of THE MUSIC MAN played through July 11, 2016.

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