Theater review: The Music Man

by Gina Robertson of John Garcia's The Column

There's a reason The Music Man, with its silly songs and light comedy beat out the intense, complex musical drama West Side Story in 1958 for the Tony Award for best musical. With its simple story and basic characters, there are fewer ways to get it wrong, allowing the show to concentrate on what it does exceptionally well—make folks laugh and feel good.

Cleburne's Plaza Theatre Company does acceptably well within its limitations. The show could use another week or so of rehearsal to correct problems with lighting, blocking, sound queues, props, missed lines, and stage design. The biggest problem is that the stage is too small for such a large show. The first big number, "Iowa Stubborn," is especially crowded and disorganized. There is a fair amount of River Citizens bumping into each other during "Shipoopi" as well.

The staging within this production tends to be awkward at times, such as during "Goodnight My Someone." Oddly enough there was a lady in the audience seated directly next to the piano that seemed to "look" like she was a participant in the number along with the two performers singing it. She may have wondered if she was expected to spontaneously join in with harmony.

Problems with props include Tommy Djilas's firecracker that hardly makes a sound. The sound system could be used to deliver the Bang! Thus so that the performers can all react at the same time and the audience all around the room knows what they're reacting to.

Scenic wise the footbridge that was created for the production turned out to distractingly unstable.

But this is The Music Man, whose magical potency can hardly be diminished by such technicalities. It is the story of Harold Hill, a conniving salesman who comes to the quaint Midwestern town of River City to impersonate a band leader in order to sell instruments, instruction books, and uniforms for a boys' band. Before the stubborn Iowans realize they've been had, Harold Hill has transformed the town and himself (he is redeemed by the love of the spinster librarian, Marian Paroo).

Co-director JaceSon Barrus takes the stage as the energetic Harold Hill, demonstrating the subtlety necessary to make him a lovable con artist. He brings something new to the role, a certain vulnerability that was missing from the most well-known performance of this character. This makes the romance between him and Miss Paroo (Amy Atkins) more believable.

Atkins has a strong voice, and she too brings something unique to her role — a sweet softness in her expressive face during her rigid moments and a fiery Irish temper when defending the man she loves. She even hops up during "Madam Librarian" and shocks everyone with a table dance of sorts!

The handsome Jay Lewis steals every scene he is in as the flustered "Mayor Shinn." He introduces a few new comedic moments within his characterization, such as the strident way he delivers his lines. His delivery of such lines as "Don't you counter-dict ME!" and "Mal-FEAS-ance without a permit!" generated loud laughter.

The directors have made good use of the stage during the "Pick a Little" songs. The four men who make up the barbershop quartet and the "Pick a little" ladies make up a strong, highly entertaining part of what make this production shine.

Finally, the children within this production often seem uncomfortable on stage, fidgeting with costumes or moving about in an unnatural manner, but this may be expected to improve as the show goes on.

The same can be said for nearly all the problems in this show, and this cast is certainly committed to bringing the show to its fullest potential over the next few weeks.