By Nathan Adams
Con man Harold Hill takes on the task of swindling the stubborn River City Iowans in Cedar Valley Community Theater’s production of Meredith Willson’s The Music Man in Cedar City. Pretending to be a music professor ready to organize a kids’ band, Harold sets out to sell band instruments and uniforms to the townspeople. He finds his greatest challenge is convincing the music teacher that he is legitimate, but in the process she ends up teaching him about integrity and the power of change.
If you love musicals like I do, you probably learned to love The Music Man a long time ago–perhaps through the popular 1962 film adaptation starring Robert Preston, Shirley Jones, and Ron Howard. For this reason, I felt apprehensive that I might suffer some disappointment in going to a community theater production of this favorite. However, CVCT’s performance (directed by Stephen Wagner) did not disappoint me at all. It was great from beginning to end. Once more I delighted to discover the redemption of Professor Harold Hill and the town of River City, Iowa.
As the fast-talking Harold Hill, Randy Seely occasionally finds the tempo a little challenging, but let’s be honest, this role would challenge anybody. Marian the librarian (Emily Dimond) with her beautiful and well-trained voice, skillfully moves us through her stages of distrustful skepticism to guarded acceptance, until love leads her to finally catch Professor Hill with his foot in the door. It is 
not hard to see why, given the chemistry they create onstage.
I enjoyed many of the characters’ performances from the sweet Winthrop (John Myers) to the feisty Mrs. Paroo (Bonnie Nielson) and each of the uppity Pick-a-Little ladies (Kristy DeGraaf, Jessika Grimshaw, Emmalee Myers, Kimber Myers, Cheryl Savage, Charlie Tuttle, Jenni Wilson) especially the mayor’s wife Eulalie Mackecknie Shinn (Julie Griffin). The ensemble is also very invested in their characters. One of my favorite parts was an adorable three-year-old boy onstage during “Trouble” (pay special attention as this little boy nearly steals the show during this 
number).
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With music direction by Jacob Chipman, the vocals for the ensemble and soloists are impressive. The barbershop quartet (David Baker, Mark Axelson, Matt Adams, Michael Cox) does a great job singing the tight harmonies, but is also animated and humorous keeping the spotlight on them, both literally and figuratively. Between memorizing notes, lyrics, and choreography, sometimes expression and charisma can easily be lost in theater productions, but every one of the singers in this production lets their personality and onstage connection shine through on top of the beautiful music they are making.
The dance numbers, involving everyone from little kids to grandparents, are outstanding. For once, I watched the long dance numbers without wondering when they would end, but rather hoping they could go on a little longer. “Shipoopi,” led by Marcellus (Stockton Myers), is especially entertaining and incorporates period-authentic animal dance fads like the Turkey Trot. Rendall Seely’s choreography at times features an impressively synchronized ensemble, and at others allows for small groups to shine. Some delightful surprises include gymnastic moves, baton twirlers, and a wonderful group of cloggers.
The sets and costumes add to the overall enjoyment of the musical. The onstage set is quite basic, which allows versatility during the many different scenes and minimal scene changes between. The scene changes are never distracting. The backdrops are amazing and add to the realism of the production. The gymnasium set is especially attention-getting with patriotic bunting, banners, and flags. The costumes (Janett Rockwell) are beautiful and appropriate for the period. They help the audience identify the main players. Eulalie Mackecknie Shinn’s costumes are over-the-top, whereas Marian Paroo wears modest dresses befitting her station as the “old maid 
librarian.”
In a world where live pit orchestras are more and more often replaced by backtracks, I was pleasantly surprised by the caliber of CVCT’s orchestra musicians, directed by Carylee Zwang. After all, what would a musical about a community band be, without, well, a community band? The orchestra brings life to varied styles of music, from Sousa-esque marches with trombones (not quite 76) to Dixieland feels with piano and clarinet. The piccolos especially add a playful bounce to the music that surely gives the dancers a spring in their step.
Overall, Cedar Valley Community Theater’s The Music Man is a predominantly fun production. The large and well-rounded cast gives a wonderful presentation, and it seemed that they enjoyed the play as much as I did. I was laughing and chuckling at least once every few minutes. In the end, this musical reminded me what is so charming and valuable about community theater.
Cedar Valley Community Theatre presents The Music Man by Meredith Willson.
Heritage Center Theater, 105 N 100 E, Cedar City, UT 84720
June 1-2, 4, 8-9, 2018 7:30 PM, June 9, 2018 2:00 PM
Tickets: $8.50-12.50
Contact: info@cedartheatre.org
Cedar Valley Community Theater Facebook Page
The Music Man Facebook Event
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