By Lori Geisler
Performed in the regally gorgeous Ellen Eccles Theatre on Logan’s Main Street in the Historic Downtown District, Utah Festival’s The Music Man is presented in a stunning fashion that matches its surroundings. From beginning to end, there is a feeling that this is an experience to remember.
The Music Man is a musical that has special significance to me. As a child, I heard stories of my mother dancing in her high school production of the show. Before my husband and I were married, we performed in a local theatre’s production together, sharing our first stage kiss. Through the years, I have had the opportunity to choreograph the show multiple times, in a variety of venues. The Music Man and I, you could say, go way back. At the Informance, presented an hour before show time, Michael Ballam, Utah Festival’s Founding General Director, explained that this would be a very traditional presentation of The Music Man, as he believed the playwright Meredith Wilson intended. This was music to my ears. A story and music I loved would be presented in the way I loved.
Only a handful of composers of musical scores are also the lyricists. Wilson was one of them. A member of John Philip Sousa’s band, Wilson played the flute and piccolo. He was born and raised in Mason City, Iowa, where his father sold band instruments. Thus, The Music Man, the story of a traveling salesman who cons the people of River City, Iowa into buying instruments and uniforms for the boys in town to use to play in a band, was not so removed from Wilson’s own life. Drawing on personal experience, Wilson created an entertaining and memorable story, with larger than life music, set in a charming Midwestern town. Opening on Broadway in 1957, the show was a hit, winning five Tony Awards, including Best Musical.
Robert Preston is well known for his portrayal of the traveling salesman, Harold Hill, on Broadway and in the 1962 movie adaptation. Curt Olds had Preston’s big shoes to fill, and did so magnificently. With complicated timing and words that could tangle the tongue of many performers, “(Ya Got) Trouble,” the musical number in which Harold convinces the city that they need his band, was performed superbly by Olds. Marian (Vanessa Ballam), the snooty librarian and piano teacher whom Harold must woo to keep the town from discovering the truth about his band, shows the perfect transformation from stubborn standoffishness, to tender caring, and ultimately to love. Ballam’s gorgeous voice makes every song she sings, from “Goodnight My Someone” to “My White Knight” are pure delight. The storyline reaches a high point when it becomes clear that Harold and Marian have indeed fallen for each other as Olds and Ballam beautifully sing, “Till There Was You.”
Markel Reed, Scott Ballantine, Brian Skoog, and Michael Colman make up a Barbershop Quartet that has incredible harmony, blending sublimely on songs such as, “Sincere,” “Goodnight, Ladies,” and “Lida Rose.” W. Lee Daily again shows his comedic genius in his portrayal of Marcellus Washburn, Harold’s side-kick and partner in crime. Mrs. Paroo (Cabiria Jacobsen) utilizes a charming and convincing Irish accent and portrays incredible warmth, strength, and wit. Young Winthrop Paroo (Brigham David Allen) delivers a performance of “Gary, Indiana” that melted my heart, and his endearing lisp truly makes Winthrop a character to love. My 10-year-old son was so taken with him, in fact, that he now aspires to play the part himself.
When the director is also the choreographer, it sometimes means that the choreography suffers. That is not the case with this production. The Music Man calls for some serious dancing, and Valerie Rachelle delivers in spades with the help of Assistant Choreographer Katelin Ruzzamenti, who also gives a stellar performance as Marcellus’ sweetheart, Ethel Toffelmier. A musical about a band needs a live orchestra, and this performance has one of the best, conducted by Karen Keltner. Outstanding period costumes by Lydia Semler and wig and makeup design by Melyssa Swenson create the illusion of being transported back more than a century, and the set design by Bill Forrester makes 1912 Iowa feel like a place where I would want to stay.
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If attending an evening performance, parking is available directly behind the theatre, but if attending a matinee, parking is a bit more tricky. Utah Festival’s website shows suggestions of available areas in which to park. Concessions and merchandise are available in the lobby before and after the production as well as during intermission.
The performance is quite long, and although the action moves along at an exciting pace, it may be too long for some viewers. My son and I enjoyed every minute, but there was a mother and her young daughter seated next to us, and I noticed that they did not return after intermission.
One of my favorite quotes from the script remains an inspiring motto for living life to the fullest: “You pile up enough tomorrows, and you’ll find you are left with nothing but a lot of empty yesterdays. I don’t know about you, but I’d like to make today worth remembering.” A day enjoying Utah Festival’s Music Man is a day worth remembering.
Utah Festival Presents Music Man by Meredith Wilson
Ellen Eccles Theatre 43 S Main St, Logan, Ut 84321
July 15, 26, August 4, 9, 7:30 PM, July 22, 29, 1:00 PM
Tickets: $29-72
Contact: 435-750-0300
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