The Music Man

The plot of The Music Man concerns con man Harold Hill, who poses as a boys' band organizer and leader and sells band instruments and uniforms to naïve Midwestern townsfolk, promising to train the members of the new band. Harold is no musician, however, and plans to leave town without giving any music lessons. Prim librarian and piano teacher Marian sees through him, but when Harold helps her younger brother overcome his lisp and social awkwardness, Marian begins to fall in love with him. He risks being caught to win her heart.

This was my first viewing of The Music Man and I had been warned that this was, certainly set-wise, a minimalist production. However, that was where any reference to “minimalist” ended. Enter the creativity and vision of Director Fraser Grant. Grant’s expertise and experience in the world of music theatre, particularly opera, led to a production that caught one’s attention from the rise of the curtain and maintained it throughout. True, any traditional sets had been removed from the show, but replaced by video projection on to a series of cloths/gauzes. This I have seen many times, but so often scenes are grabbed without any thought given to how they will look when zoomed out possibly 8000 times. Tonight, bespoke projections, courtesy of designer Neil McDowell Smith, were given that important thought.  One soon forgot that there was no traditional set on stage, and the few chairs, tables and stepladders combined with the projections to focus on and determine location for each scene. To continue with the Creative Team, Grant must have been delighted to have on board, choreographer Louise Williamson, a name that is synonymous with choreography of the very highest standard, and tonight was no exception! Her casting of a dance team that looked and performed to the high standards set by Fraser Grant, was an absolute pleasure to watch!  Finally, Musical Director, Maddy Baron, and AMD, Fraser Hume, put the icing on the cake with their 18-piece orchestra and their obvious dedication to ensuring excellent vocal prowess from chorus and principals alike. Technically, the show gained from James Gow’s subtle, well planned lighting design.  With so many movers on the rig, the temptation might have been to spin gobos and tilt into the audience’ eyes, but, thankfully, no such “see-what-my-lights-can-do” here. Sound too, by Paul Smith, fitted the bill, with audibility excellent throughout – more than can be said of a London West-end show I saw last week! Wardrobe equalled the other technical departments as looking fresh and totally in keeping with the period of the piece.

Cast-wise I would like to congratulate each and every one of the 60+ performers. Without exception (as far as I could see!) they were all thoroughly enjoying performing this less-frequently performed musical, and that enjoyment was passed over to the audience, who were not backward in showing their appreciation.

The show stands or falls with the title role of conman Harold Hill played here by John Bruce. Superb singing and laid-back interpretation of the part made for a masterful performance! Bruce was well supported by Rebekah Lansley playing the role of Marian, the prim and (initially!) proper librarian. Lansley’s singing is always a delight to listen to and her stage presence equals that. Dorothy Johnstone delighted as Eulalie Shinn, the wife of the town Mayor. Her zany, if not, slightly eccentric, approach to the part filled many a comedic moment, and her numerous quick changes were noted! Paul Strilich, too, as the blustering Mayor Shinn worked well with his wife Eulalie, putting her down (at least he thought he did!) at the slightest provocation. Further comedy too, was forthcoming from Stephen Boyd as anvil salesman Charlie Cowell who made the most of his humorous lines at every opportunity. The barbershop quartet performed exquisitely, with lovely harmonies included, and comprised Callum Scott, Laurence Aitken, Gustav Selstam and David Bartholomew. The team of children all performed to a very high standard – commensurate with their adult compatriots. Mention must go to Oliver Thomson (Winthrop Paroo) whose rendition of Gary, Indiana was particularly noteworthy!

Apologies to those whom I have not given a name check, but, be assured, you all gave outstanding performances in this happy, feel-good show.

Many thanks for inviting us along to yet another SLO hit!

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