By Alayna Een
In a world darkened by a global pandemic, it’s refreshing to escape for a few hours to a time when one town’s “trouble with a capital T” can be linked to one sweet-talking salesman and a new pool table, and this is exactly what the Timpanogos Arts Foundation and the American Fork Community Theater in American Fork, Utah, offers you with their production of Meredith Willson’s The Music Man. The Music Man is a well-loved musical about a light-hearted con man who meets his match in the stubborn Iowa town of River City.
Stephen Tobian (Harold Hill) gets some serious words-per-minute mileage and tackles the tremendous tongue twisters that come with the territory of his character, Harold Hill, but he pulls it all off as smoothly as only the best sweet-talking traveling salesmen can. Lydia Vance is a rising talent in community theater–and rising is a good word for it, as she masterfully makes Marian’s many high notes shine like the evening star she sings to. But incredible vocal bravado isn’t all Vance brings to the stage; it seems there’s nothing she doesn’t do well. Vance truly captures the character arc of Marian Paroo, starting as stern and solitary and becoming more open and playful as the play progresses. And I can only agree with the Ladies of River City in the “Pickalittle Reprise”: “[Marian] dance[s] like a fairy princess, with a moonbeam for [her] floor.”
The chemistry between the two leads is delightful. I laughed along as they bantered with ease, and I was deeply moved by the simple interlocking of fingers at the footbridge scene. The magic of these moments is only enhanced by David Bruner’s (Light Design) well-timed dramatic spotlights.
Julie Hadlock (Mrs. Paroo) is the well-meaning Irish mother we all wish we had, and she brings a home-baked genuine heart to the role. The happy family dynamic between Hadlock and Winthrop Paroo (Benjamin Kland) is all the more believable because they’re real-life mother and son, and Kland brings the shy and lisping character of Winthrop to life. Lucy White is a sweet Amaryllis Demitri, and her interactions with Winthrop—chasing each other across the stage, pausing to ponder the evening star—capture the joy and whimsey of childhood. White holds her own in “Goodnight, My Someone” and at the piano.
Joshua Lyon imbues Marcellus Washburn with a high energy and great spirit that lifts the musical numbers (especially “Shipoopi” and “The-Sadder-But-Wiser-Girl”) but still captures the genuine friendship between his character and Harold Hill. Matthew Jones (Tommy Dijilas) and Brynn Allred (Zaneeta Shinn) are the young and star-crossed lovers of the play. I especially enjoyed watching them in the group scenes as they portrayed not only ardent young love but the quirky impatience, occasional boredom, and distraction of youth.
Liz Woolsey embraces the absurdity and self-importance of her character, Eulalie MacKecknie Shin. Her interactions with Tom Cornaby (Mayor Shin) are a comedic highlight of the performance and, in the final scene, a powerful statement. Cornaby captures the complexity of his character’s quasi-paradoxical authoritative firmness and unwitting stupidity. Tucker Smith, Jordan Allen, Benjamin Brockbank,and Jim Dale form the School Board-cum-Barbershop Quartet that helps bring harmony to River City. If every town had a happy, street-singing quartet of this caliber, the world would be a wonderful place. Daniel Manivanh (Charlie Cowell/Alfred Price) slings around small-town insults with ease and brings some slime to the anvil salesman.
But the true, endearingly stubborn spirit of River City comes from the great performances of the ensemble members. The young band members march and twirl enthusiastically through the charming choreography provided by DaMelly Alderete, and the other townsfolk execute lifts, high kicks, and complex partner dances with unity and energy. Ensemble members Benzley Tinney and Lauren Smith dance with a distinct and admirable grace. I loved the the playful way the cast interacted with the book props and each other in the choreography for “Marian the Librarian.” Katrina DeKarver (Costume Design) outfits the cast with beautiful, period-appropriate clothing that adds color and richness to River City, not to mention a few lacy frills.
It is often true of community theater that the cast and crew have to wear many hats. Well, in the true spirit of “the show must go on,” Becca Hardman (Music Director) donned a dapper straw hat on opening night and joined the quartet to stand in for a sick cast member. It’s a testament to her skill as a music director and her dedication to the performance that she was able to fill that need. Ian J. Johnston (Stage Manager) and Beth Bruner (Director) also wore many hats behind the scenes to keep contribute to the show’s success.
I love live theater, and I was so grateful for the thorough safety precautions that this production implemented to provide a safe, positive experience for both audience and cast. Face masks and socially distanced seating are required during the performance. The Music Man features some of Broadway’s greatest songs and is sure to delight audiences of all ages. You really ought to give the Timpanogos Arts Foundation and the American Fork Community Theater’s production of The Music Man in American Fork, Utah, a try!
Timpanogos Arts Foundation and the American Fork Community Theater presents The Music Man, by Meredith Willson and Franklin Lacey.
The Valentine Theater in American Fork. 839 E 900 N St. American Fork, UT, 846003
August 17, 20–24, 27–29, 2020 7:30 PM
Tickets: $8–$12
Contact: AFTheater@gmail.com ; 385-787-4040
American Fork Community Theater Facebook Page
American Fork Arts Institute & Timpanogos Arts Foundation Facebook Page
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