The Company (Photo by Marshall Meadows)
Reviewed by G. Bruce Smith
Ahmanson Theatre
Through Nov. 8
RECOMMENDED
Elliott Andrews and Elizabeth D’aiuto (Photo by Marshall Meadows)
How can you not love The Music Man?
Meredith Willson’s (book, lyrics and music) homage to Americana, and his overarching theme of the power of music, is so delightfully told — through unforgettable songs, an engaging plot, humor and clever rhythmic lyrics — that it’s difficult not to fall under its spell.
And the current national tour production at the Ahmanson Theatre brings the classic musical to life with sharp direction (Matt Lenz), a hugely talented cast, authentic and striking scenic design (Ann Beyersdorfer) along with colorful costumes (Santo Loquasto), and charming choreography (Joshua Bergasse).
Professor Harold Hill (Elliott Andrews) —a fake name — is a con man who goes from town to town in the Midwest, selling the notion that the community needs a boys’ band so that the youngsters don’t fall into evil ways. He doesn’t know a note of music, but through charisma and guile always manages to sell band instruments and uniforms to the townsfolk — and eventually fleeing with a handsome profit in his pocket.
He arrives in 1912 in the fictional River City, Iowa, whose inhabitants describe themselves as possessing a reserved, “chip-on-the-shoulder attitude” (“Iowa Stubborn”). This sets the stage for what is expected to be a challenge for Hill. But the scammer wins the people over rather quickly as he warns of the dangers of a pool table due to arrive in River City (“Trouble”) – the first step toward young men falling into sinful ways.
However, there are skeptics – including the bumbling Mayor Shinn (Patrick Blashill), the bickering school board members (Joshua Pierre Moore, Brian Doolittle Gonzalez, Matthew Wautier-Rodriguez and Craig First) and, most importantly, the lovely and single
Marian Paroo (Elizabeth D’aiuto), the town’s librarian and piano teacher.
But Hill has his wits about him and deflects demands to see his credentials. Most amazingly, he does this with the school board members by encouraging them to sing – and suddenly they become a Barbershop Quartet and their longtime quibbles end. (They also sing some of the most memorable songs, including “Lida Rose.”)
The mayor still has his doubts but can’t pin Hill down, while Marian – who is dodging Hill’s advances – mockingly calls him a charlatan and is secretly doing research to expose him for what he is.
You can pretty much guess how the show ends (happily, of course), but what is surprising is the reason behind Marian’s and the townspeople’s eventual verdict on Hill. Hint: it goes to the power of music for change.
Andrews embodies — literally — the charm and slick wit of Hill. And his singing and dancing are executed with the ease of a confident con man.
As Marian, D’aiuto displays a powerful, operatic voice that mesmerizes. She has many of the beautiful solos, including “Till There Was You,” which she sings with passion.
The Tony Award-winning musical, which opened on Broadway in 1957, hasn’t had a commercial production in Los Angeles for 20 years. And it is likely the perfect antidote to the existential crisis facing the U.S today. It provides an appealing escape and unapologetic nostalgia for what this country once was, however romanticized. And there is absolutely nothing wrong with that.
Ahmanson Theatre, 601 W. Temple St., Los Angeles. Tuesdays through Thursdays at 7:30 pm; Fridays at 8 pm; Saturday, Oct. 31 at 1 p.m.; Saturday, Nov. 7 at 2 and 8 pm; Sundays at 1 pm. centertheatregroup.org. Running time, Two hours and 40 minutes, including an intermission.
