Marriott Theatre’s “The Music Man” Breaks Out “Seventy-Six Trombones” of Timelessness
The 1950s had its fair share of Broadway showstoppers, but one that’s still being talked about is Meredith Willson’s “The Music Man,” especially after being revived a couple years ago with Hugh Jackman and Sutton Foster in the starring roles.
But no matter whose names are perched atop the marquee, it’s the simple yet timeless storyline and instantly indelible soundtrack that keep packing in places like the Marriott Theatre in Lincolnshire, where it runs through Sunday, June 2.
The six-time Tony Award-winner is in the always capable hands of director/choreographer Katie Spelman (“The Notebook,” “Moulin Rouge!”) and Jeff Award-winning music director Ryan T. Nelson, who alongside dynamite leads/fellow Big Apple alums KJ Hippensteel (Harold Hill) and Alexandra Silber (Marian Paroo), plus a chemistry-packed ensemble representing River City, help ensure the toe-tapping comedy is introduced to yet another younger generation.
Of course, those who grew up following “The Music Man,” including those who caught at least a couple colossal movies, are already familiar with Harold, the traveling salesman who’s actually a slick con artist trying to trick the unsuspecting Iowa town into purchasing instruments, books and uniforms for a band he promises to lead.
Though he comes across as sincere and believable, those who read between some fast-talking lines may notice he “doesn’t know a bass drum from a pipe organ” and is really scheming to leave town right after the money rolls in.
The plan would’ve been practically foolproof had he not met Marian, a local librarian who is single and relatively content immersing herself in literature, but has a mother trying to get her married to any halfway decent man.
However, just as everyone’s plans seem to be coming together, a little research exposes a super-sized secret, which will either cause “The Music Man” to run in the opposite direction or finally be forced to walk the straight and narrow.
The Marriott production makes a point to equally emphasize the mischief, romance and possibility of redemption as potential audience takeaways, though iconic tunes such as “Goodnight, My Someone,” “Seventy-Six Trombones,” “The Wells Fargo Wagon,” “Shipoopi” and “Till There Was You” may alone be worth the refreshingly reasonable price of admission.
