Displaying items by tag: The Music Man

You got trouble, my friends, if you’re going to put on Meredith Willson’s The Music Man.

If you’re going to stage a show that’s been staged ten thousand times since its 1957 Broadway debut—from Hugh Jackman on the stage to Matthew Broderick on the screen to every doggone high school from Clear Lake to Mason City.

A show lovingly recreating an era (Willson was born in turn-of-the-century Iowa) and themes (Willson’s virtuosity on the piccolo found him playing in John Phillip Sousa’s band and Toscanini’s New York Philharmonic) that aren’t quite old enough to be ancient but aren’t familiar enough not to seem dated.

To try and recreate those songs.

“Trouble”

“Till There Was You”

“Seventy-Six Trombones”

To try and attempt to touch the hem of the salesman’s trousers worn by Robert Preston’s Professor Harold Hill—Preston not only originated Hill and played him for much of the original production’s 1,375-show run and the beloved 1962 Hollywood adaptation, he is Professor Harold Hill. Nobody—not any one of those ten thousand (or more) high school or professional actors, not even Hugh Jackman—can be the band instrument-peddling flim-flam man like Preston was and is and always will be.

My friends, if you’re going to attempt all of that… well, you’ve got trouble.

Unless you’re Katie Spelman, who is directing and choreographing Marriott Theatre’s current production of Meredith Willson’s The Music Man. Spelman’s production lovingly embraces and focuses on some aspects of Willson’s original, while avoiding the pitfalls such an iconic show presents. But what this production does best is it knows its strengths, and it leans into them, giving Spelman’s show its own unique flair.

We see the sort of Harold Hill we’re going to spend the evening with right away aboard the train from Rock Island. In most productions I’ve seen, me and the rest of the audience know the first scene’s big reveal, and our eyes remain glued to a particular passenger despite the cast’s best efforts at the syncopated opening number, “Rock Island.” But even though we spot KJ Hippensteel at the back of the train car, we don’t focus on him. Instead, we focus on the enthusiastic ensemble that everyone—Marriott’s in-the-round setup means it’s always the best seat in the house—sees up close and personal and from all angles. Ron E. Rains, all dolled up like a turn-of-the-country fellow, leads the charge, while his fellow passengers run through Spelman’s clockwork choreography. Right away, I was glad to see a familiar face, Michael Mahler, who brought the same charm to each role in this play as he has in many past.

After Hippensteel’s Professor Harold Hill disembarks from the train to River City, Iowa, this closeness and intimacy we felt aboard the train transfers right into town. This production doesn’t try to recreate River City on a Hollywood scale. But it really focuses on certain things and gives us a good, close look at them, which we might not have gotten on the Broadway stage or the silver screen.

The citizens of River City are each and every one unique. And, as they move around the round, allowing us to see each and every one of them, we appreciate the details of each of their costumes (by Raquel Adorno), we appreciate that each one is someone. Particularly charming are youngsters Emily Ann Brooks and Sam Linda, Janet Ulrich Brooks’ Widow Paroo, Elin Joy Seiler’s Amaryllis, Alex Goodrich’s Mayor Shinn, Melanie Loren’s hilarious Eulalie Mackecknie Shinn, and the spot-on barbershop harmonies of the school board quartet (Matt Edmonds, Quinn Rigg, Michael Potsic, and the afore-mentioned Mahler).

Besides the ensemble’s vocal strengths, the singer who really shines is Alexandra Silber as Marian Paroo, the town librarian. No shrinking violet, no old-maid-against-her-will, and not even Mrs. Partridge (although I do love Shirley Jones’ Marian the Librarian), Silber brings her Grammy-nominated vocals to the fore. This production’s brought Julie Andrews-caliber pipes to the party—Silber’s soprano as she sang of “My White Knight” gave me chills.

But while all of these strengths—the ensemble’s skill, the cast’s charm, the performers’ pipes, the theater’s—are recognized and utilized and add up to a unique and charming take on an old favorite, I’ve not yet addressed KJ Hippensteel as Professor Harold Hill. And that’s because, like the production itself, Hippensteel’s Hill reads the room and knows what the room needs, or he knows how to sell the room what the room thinks it needs.

Hippensteel’s Hill doesn’t try to go toe-to-toe with Preston’s over-the-top traveling salesman—he’d have failed like every other Hill since Preston caught his last train ride. But Hippensteel’s Hill knows his own strengths.

He’s city pretty and, while out of place in a place like River City, he’s a curiosity. He’s slippery, slinking around with an easy physicality that sometimes seems to be at twice the speed of the Iowans moving around him. And Hippensteel’s Hill seems like he might just be a nice enough fellow—while Preston’s Hill, played by an actor who up until then had usually played screen villains, is a bad guy you hope could see the light, Hippensteel’s Hill is a good guy who you hope can right the ship after some bad life choices.

But, because this is The Music Man, a show we music theater folks know and love, Hippensteel’s Hill does give us the flourishes, the hand gestures, the hops, the dips, all the pizazz we came into the theater expecting from the professor. However, Hippensteel does it on his own terms, as his own Harold Hill. Just like the entire charming and unique production of Meredith Willson’s The Music Man does, playing now through June 2 at the Marriott Theatre in Lincolnshire.

Marriott Theatre continues its thrilling 2024 season with MEREDITH WILLSON'S THE MUSIC MAN, the six-time Tony Award-winning musical comedy, directed and choreographed by Katie Spelman (Broadway: The Notebook, Moulin Rouge!, Amelie; Writers Theater: Once) with Music Direction by Jeff Award Winner Ryan T. Nelson. By turns wicked, funny, warm, romantic and touching, THE MUSIC MAN is family entertainment at its best. THE MUSIC MAN previews April 10, opens Wednesday, April 17 at 7:30 pm and runs through June 2, 2024.

A cherished story to be shared with every generation, The Music Man follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a band that he vows to organize – despite the fact that he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian. With the help of Marian and River City, Harold sees himself turned into an upstanding citizen by the curtain's fall.

"THE MUSIC MAN is a timeless story, and one that showcases the enduring charm of the Golden Age musical," said director Katie Spelman. "The idea that love, community, and redemption are all inextricably intertwined with one another is a wonderful reminder in these turbulent times."

THE MUSIC MAN will star KJ Hippensteel as "Harold Hill" (Broadway: The Book of Mormon, Some Like it Hot, Mrs. Doubtfire; Marriott Theatre: Something Rotten!) along with Alexandra Silber as "Marian Paroo" (Broadway: Fiddler on the Roof, Master Class; Chicago Shakespeare Theatre: Lend me a Soprano);  Emily Ann Brooks as "Zaneeta" (Marriott Theatre: Big Fish, Chicago Shakespeare Theater: Beauty and the Beast); Janet Ulrich Brooks as "Mrs. Paroo" (Marriott Theatre: Beautiful; Goodman Theatre: The Cherry Orchard); Kai Edgar as "Winthrop" (Marriott Theatre: Oliver!, Roald Dahl's James and the Giant Peach; Music Theater Works: Billy Elliott); Alex Goodrich as "Mayor Shinn" (Marriott Theatre: Buddy - The Buddy Holly Story; Chicago Shakespeare Theater: Hamlet); Michael Earvin Martin as "Marcellus Washburn" (Marriott Theatre: Beautiful; Chicago Shakespeare Theatre: The Comedy of Errors);  Sam Linda as "Tommy Djilas" (Marriott Theatre: Damn Yankees; Writers Theater: The Band's Visit); Melanie Loren as "Eulalie Shinn" (Drury Lane Theater: The Color Purple, Little Shop of Horrors; TV: "Chicago Med", "The Chi"); Ron E. Rains as "Charlie Cowell" (Marriott Theatre: Damn Yankees; Paramount Theatre: Billy Elliot: The Musical); and Elin Joy Seiler as "Amaryllis" (Marriott Theatre: A Christmas Story, The Musical, Gypsy; Paramount Theater: Billy Elliot) with Bridget Adams-King, Elliot Angsurat, Emma Grace Bailey, Logan Becker, Caron Buinis, Lillian Castillo, Brandon Dahlquist, Morgan DiFonzo, Kalea Edgar, Matt Edmonds, Kelly Felthous, Max Antonio Gonzalez, Darian Goulding, Laura Guley, Naya Rosalie James, Maya Keane, Kevin Kulp, Irene Lo, Charlie Long, Michael Lunder, Michael Mahler, Christine Mayland Perkins, Michael Potsic, Quinn Rigg, Ayana Strutz, and Matthew Weidenbener.

The artistic team features Scenic Designer Collette Pollard, Costume Designer Raquel Adorno, Lighting Designer Jesse Klug, Sound Designer Michael Daly, Wig Designer Miguel A. Armstrong, Props Designer Sally Zack, Associate Choreographer Kim Hudman, Conductor Kevin Reeks, Production Manager Meg Love, Stage Manager Jessica Banaszak, Dialect Coach Sammi Grant, Assistant Director Laura Rook and Assistant Stage Manager Richard Strimer.

This production is dedicated to the Music Man in everyone's hearts, the late Bernie Yvon (1964-2014). A veteran of countless theatres across the country, Bernie was especially beloved for his performances on the Marriott Theatre stage. Bernie considered Marriott Theatre home, and their patrons considered him family. A scholarship fund in Bernie's name ensures that the next generation of theatre artists are given the same opportunity to learn and light up the stage as Bernie did. To play a part in honoring his legacy, please visit BernieYvon.com.

THE MUSIC MAN is scheduled to run Wednesdays at 1 p.m. and 7:30 p.m., Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m., and Sundays at 1 p.m. and 5 p.m., with select Thursday 1:00 p.m. shows. Ticket prices start at $60 (excluding tax and handling fees). Call for student, senior, and military discounts. To make a restaurant reservation, please call 847.634.0100. Reservations are strongly recommended. Free parking is available at all performances. To reserve tickets, please call the Marriott Theatre Box Office at 847.634.0200 or go to www.tickets.marriotttheatre.com. Visit www.MarriottTheatre.com for more information. This production of THE MUSIC MAN was licensed by Music Theatre International.