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Sunday, July 6, 2008

Theater Review: The Music Man

by Carol M. Rice

The Music Man

When:	Sunday, July 6, 2008, 2 p.m.
Where:	McKinney North High School, 2550 Wilmeth Road, McKinney
Cost:	$16 - $21
Age limit:	All ages
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In the last month, there have been four productions of The Music Man in the DFW area alone. Artisan Center Theater, Cedar Valley College, and PFamily Arts’ productions have closed, but you can see the most recent version being presented by McKinney Summer Musicals.

I have to confess that I love this show. I don’t know why, and I almost never go see it, but I always enjoy it when I do. And it’s obvious why so many theatres produce it – it’s a HUGE cast of all ages, including lots of kids, so you have a guaranteed audience of family and friends. Unfortunately, this often means that a director throws a bunch of people into the cast who have no business being on stage. Fortunately in the case of McKinney Summer Musicals’ production, this is generally not the case.

I want to preface my next statement by saying that my son Stephen has been going to theatre since he was about six months old, at which time he laughed in appropriate places during a production of Much Ado About Nothing. He is now six and a half, and he is a pretty good barometer of a show’s quality and always has been. If it’s not a good show, you will hear him very clearly ask when it’s going to be over or if it’s time to go home yet. (He saw the last show I directed, Gilligan’s Island: the Musical, seven times, so I felt confident I had a hit there.)

Well, Stephen was my “date” for the evening, and I must admit that he was mesmerized from start to finish. And The Music Man in any incarnation is not a short show. The pacing was great, and McKinney Summer Musicals’ production was definitely aided by absolutely stunning sets. The backstage and fly system of McKinney North High School auditorium is state of the art, and scene changes flowed beautifully.

Costumes for the show were what we as an audience have come to expect from a production of The Music Man – salesmen in loud jackets, ridiculous hats on the “Pick-a-Little Ladies,” bright petticoated skirts for the girls, young men in knickers and suspenders, a librarian who dresses like Eliza Doolittle gone to the races.... (While that last one may seem a bit catty, think about it – it’s what the audience expects. If Marian the Librarian dressed like a REAL librarian of 1912, it just wouldn’t work.) It all made for a colorful and festive stage that was fun to watch.

Director/Choreographer Kevyn Robertson did a great job with all the young dancers. The choreography during the group numbers was energetic, entertaining, and well-executed.

I wish the same could have been said of the singing. The performers who were miked were fine, but chorus numbers were hard to hear and diction was really muddy, making those numbers tough to enjoy, and when some of the singers were miked and some weren’t, it made for a really weak number.

On the other hand, Jay Steinfeld, Marshal Goldberg, Mike Ryan, and Rick Robertson, who are apparently also known as the “40 Acre 4 Barbershop Quartet,” were wonderful. I looked forward to every appearance by these talented gents. Grant Bower as Winthrop also had some really nice moments.

The same can’t be said of the “Pick-a-Little Ladies,” however. Comedy is one of those weird things that becomes UNfunny the more you try to make people laugh. These ladies seemed to be trying to outdo each other by “being funny” and it just didn’t work.

The other thing that didn’t work is unfortunately the biggest part of the show, and that is the relationship between Harold Hill and Marian. I have seen Deanna Sarkar in other shows before, and she has outshone everyone else on stage. This lovely lady looks like a cross between Princess Grace and Michelle Pfeiffer and has a beautiful voice, but her first song, “Piano Lesson”/“If You Don’t Mind My Saying So” with Noelle Chesney (who desperately needed a vocal coach for her Irish accent) as Mrs. Paroo was a disappointment. Because it’s so much lower than the rest of Marian’s songs, it’s tough for a properly warmed up soprano voice to do justice to those lower notes. It’s really not a good introduction to Marian’s singing, in my opinion.

And while the rest of Ms. Sarkar’s songs were lovely, it felt like she was just reciting lines when it came to her acting, especially when onstage with Don High as Harold Hill. There was just NO spark between these two! It didn’t help that on the footbridge, Ms. Sarkar is facing mostly upstage during their big romantic moment, singing “Till There Was You.” Physically the two are mismatched, as she is a good half head taller than he is (and keeping his hat on most of the time in their scenes wasn’t enough to hide that fact). I could have gotten around that if they’d had some chemistry, though. It also didn’t help that Mr. High seemed to be attempting a Robert Preston imitation most of the time, but when he was trying to woo her, he needed some sincerity. He has a decent voice, but not the charisma needed for Harold Hill.

The other thing I didn’t like about the production was the very end. When the Boys Band comes out and plays a few sickly notes, the REAL band was playing way too soon – immediately, in fact - and I didn’t get the sense that the town was impressed with them no matter what they did. It just didn’t make sense without the sour notes.

But that didn’t slow down the standing ovation! And it was well-deserved, I thought. Overall, this is a fine production, and audiences obviously love the show and the people in it.

Actually, my biggest issues are with the theatre itself. There is no rake to the audience, and even with Stephen on my lap for most of the first act, he couldn’t see (neither could I), and we were on the aisle. We moved to the very back row with about 4 rows of empty seats in front of us for the last act, and that helped, but I can’t imagine having a normal sized person sitting directly in front of me, much less my child.

The other thing that I’m going to focus a bit on is the lack of concessions at intermission. The lights came up and people wandered into the lobby...and looked a bit lost because there was nothing there to nosh on. With such a large house, McKinney Summer Musicals could have cleaned up by offering concessions!

I want to close by stating that I am really impressed with this organization. The program notes indicated that after being dormant for 11 years, McKinney Summer Musicals just returned last summer with a successful production of Seven Brides for Seven Brothers (another personal favorite of mine), and if The Music Man is any indication, they are poised for many more successes to come.

The show runs through July 13 and tickets can be purchased online or by calling 214-544-4630.

Carol M. Rice is Artistic Director of Rover Dramawerks.

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Anonymous

FoodCzar says:

You know, Carol, I think your review was spot on. I think Music Man is a great show, but could be so much better if the people that usually produce it understood it better. I must confess I never really "got" it until I saw composer Meredith Willson as a panelist on GSN reruns of the old panel show "The Name's the Same". He was very, very dry, and of course the show is his autobiography. Watching him, I suddenly understood that dry humor is the key. If you try to force it, as you said the pick-a-little ladies did, it just falls flat. The pure joy of a scene such as "One Grecian Urn" is that the ladies involved are so serious!!!

Anonymous

1 year, 4 months ago
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PlanoMike says:

Food Czar: I suspect that you saw Meridith Willson, but not the production in McKinney. At curtain call Sunday, the biggest ovation was for the "PICS".

How can anyone singing "Pic a little, talk a little, cheep cheep cheep" be dry and subtle?

In the 1962 movie, which Meridith Willson did strongly influence ( he forced the use of Robert Preston, for one thing), there are even clips of real hens shown, interspersed with the ladies in their giant feathered hats. They make chicken movements, too. Dry and subtle, eh.

As to your comments about the theater rake, Carol, the fact that it seats 999 and allows people to spread out a little probably makes up for a few flat spots.

The wonderful potential of that theater in terms of the use of a fly system, and an excellent lighting system, full orchestra pit, good acoustics, and massive off-stage holding areas for props like the railroad car and the Paroo house weigh toward the use of that facility for this really big production vs. any others I am aware of in that area.

As for Mr. Don High, we have watched him in performances for RTC (Oklahoma, Damn Yankees, and regrettably missed him as Billy Flynn in Chicago) as well as at last years Seven Brides.

His soaring baritone more than makes up for being a few inches shorter than his leading lady. Don seems built for roles that exude charm with a perhaps a little extra testosterone or "slickness".

He also projects that bantam rooster attitude sometimes adopted by feisty, compact men that makes him a very believable as an overachieving salesman that the other salesmen love to hate. I find him totally believable as Harold Hill, or the Devil, or Billy Flynn.

Deanna's portrayal of Marian as a dreamer waiting for "My White Knight" is her own interpretation, and it may be a cooler or dreamier read than you would like, but others have commented that even having sustained kisses that last as long as Harold and Marian's do have in their romantic scenes push the edge of 1912 small town sensibilities. I would have been very disappointed to see Marian and Harold rip each others clothes off.

I personally love the interweaving of "76 Trombones" and "Till There Was You" as the ir respective themes ( did you know that they are the same melodies, in different meter), with Harold taking over and adopting her dreamy, romantic song and Marian singing his words.

At this point I noticed the effective use of the low angled follow spotlight, as their entwined profiles are silhouetted beautifully against the backdrop. Sigh.

( And I usually prefer Bruce Willis movies to "Kleenex flics")

I would like to note that I too have come to consider Meridith Wilsson a genius, and his "five year overnight success" an American jewel.

The orchestra plays the sour notes. It is scored that way. By Mr. Willson, himself. The actors act. The orchestra plays all the notes Willson wrote, as written. Take it up with the maestro, or his legacy.

I am personally very impressed to hear a 30 piece orchestra when I buy a $20 ticket for a community theater production (or an $80 ticket for a Fair Park production).

On the curious side, I wonder if you and Steven made it to the theater and your seats in time for the opening act.

The opening scene of The Music Man, with the travelingsalesmen creating the illusion of a steam locomotive by the interwoven pacing and rhythm of their acapella voices is a very naked and vulnerable performance that risks much to set the background at the beginning of the show.

It also seems like a very advanced concept for the 1950's. Eminem or Vanilla Ice could appreciate this aspect of Willson.

Had you no opinion of that scene, did you miss it entirely, or do you consider it non-essential?

I can't tell by your review.

By the way, Carol, thanks for your review while the show is still playing. One of my pet peeves when reading the local papers and e-zines is reading about something I might like to attend, after it has ended.

Finally, I do agree about the concessions. I think the entire audience might have appreciated the chance for a Coke and a candy bar ( or an Evian and a granola bar).

I heard the standing ovation, too. It sounded more like a marching, stomping, "I Want to be in the Band" sort of ovation to me.

I think that is exactly what Meridith Willson was shooting for.

That is exactly what was delivered.

By a bunch of volunteers with stars in their eyes and trombones in their ears.

I support and attend community theater, including Rover Dramawerks, and I have never before seen a production attempt so much, and succeed in so many places.

Those haven't seen the show, order your tickets and get there early, because that stomping, clapping, singing crowd is liable to come back with their friends on Friday night.

Disclaimer: While Iam not a member of the Mckinney Summer Musicals Board, nor a producer or director, or a relative of Don or Deanna, I am not impartial for many reasons.

I did watch and listen to the entire show, and heard what the audience had to say afterward.

I consider them to be the final authority.

Maybe some more of them will contribute their impressions to round things out.

Thanks again for supporting ( and publicizing) community theater.

Anonymous

1 year, 4 months ago
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Jason Rice says:

Mike,

Yep, she and Stephen made it in plenty of time for the opening number. You can relax on that one.

(Hubby and father) Jason

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1 year, 4 months ago
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PlanoMike says:

Glad to hear it. Sincerely glad Pegasus and Carol are reporting in real time. I hate reviews that are eulogies.

By the Way...Who represented Sloth in Gilligan's Inferno in your opinion?

I can't get the 7 deadlies to work out if Gilligan is the devil...

Or do the Howells cover Greed and Sloth???

Regards,

Mike

Anonymous

1 year, 4 months ago
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Jason Rice says:

Nothing more depressing than a review that does no good at the box office, eh? And one printed the day after you close might as well be broadcast to the moon.

Never thought of the castaways as cardinal sins. Fun game, but I'm at a loss. Ya got me there.

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1 year, 4 months ago
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Carol Rice says:

I really hate it when reviewers comment on someone else's comments of their reviews (or even worse, when the director argues with a reviewer in this forum), but I'm going to break my own rule simply because of the length and number of his comments...and the fact that he seems to sincerely want answers about some of these things.

(1) Chemistry is much more than long kisses vs. ripping each other's clothes off. They just didn't have it, and that was only HIGHLIGHTED by the fact that Mr. High was shorter than Ms. Sarkar. Both of them are very talented and have lovely voices, but I just didn't buy their relationship.

(2) The Pick-A-Little ladies tried too hard and no matter how much applause they got, I will stick firm to my opinion that they weren't very funny.

(3) Regarding the "effective use of follow-spot," I actually thought about commenting in my review that the bright white completely washed out every soloist and small ensemble. It wasn't dreamy at all - it made those singing look like ghosts.

(4) I fully agree that the orchestra was wonderful! I was very impressed with them from start to finish. I just felt that based on the number of boys in uniforms onstage, there was too much instrumentation when they "played their sour notes." In other productions I've seen, it has been a much smaller group of instruments that began, so as to at least create the illusion that the boys are playing and not the orchestra.

(5) I didn't mention the opening scene because it didn't do much for me. It wasn't bad by any stretch, but I've seen it staged and sung much better and just didn't feel the need to say that. But since you asked, there it is. There were other scenes and characters I had opinions about, but I wanted to keep my review to a reasonable length.

(6) I love theatre of all kinds, and I enjoy expressing my opinion about it. And that's all it is - an opinion. I'm sure that even with all the good things I've said, there will be those who concentrate on the negative. Take note: I thoroughly enjoyed the show, as I said NUMEROUS times! It wasn't without flaws, but it was very, very good, and most importantly, it more than did what it set out to do, which was entertain a large audience and give them a wonderful evening. That's what it did for me and my son, anyway!

And regarding Gilligan's Island, Sherwood Schwartz created the TV show as a "social microcosm," not shipwrecked characters as the seven deadly sins, so that's the basic premise I went with for the musical. :)

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1 year, 4 months ago
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PlanoMike says:

There were two follow spots; one very bright and white, as you said, and one dimmer and more yellow -- like the Fourth of July moon.

It was the silhouettes of Marold and Marian on the bridge which appeared on the backdrop that I thought looked cool.

It may have been an accident, or by design, but I thought the effect fit with their intertwined songs and with the moment.

Thanks for your comments on my wordy review response, and for the timely and thorough review of the Music Man. I'm sure it will help people plan their coming weekend.

(I think I need to join a marching band or something to burn off the extra energy I now seem to be infected with.)

Anonymous

1 year, 4 months ago
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Carol Rice says:

Hey, there's ALWAYS a place in theatre for a guy with extra energy! ;)

Thanks for your comments, PlanoMike. Seriously. While we may not agree on all the aspects of the show, it's nice discussing our differences of opinion like adults. (I hate it when comments on this forum get accusatory and childish.)