The Music Man’s Same Old Songs Continue to Thrill and Entertain

 

Charles Esten as The Music Man credit: kgtunney Photography

   

    Who of a certain age doesn’t remember Broadway classic hits like Good Night Ladies, Seventy-Six Trombones, My White Knight, Gary, Indiana, Lida Rose and the ever romantic Till There Was You? The tunes have been performed over and over again on television variety shows and elsewhere following their debut in the 1957 Broadway hit The Music Man.

Meredith Wilson, the creative force behind the show’s book, music and lyrics, saw the musical win five Tony Awards including Best Musical then get adapted for film in 1962 and television in 2003. Those who like to dabble in Broadway history might like to know that the cast album won the first Grammy Award for Best Musical Theater Album and spent 245 weeks on the Billboard charts.

Youngsters unfamiliar with the above songs and oldsters who may want to stroll down musical Memory Lane now have the opportunity to time travel back to the late 1950s and get a taste of mid-20^th Century music performed at the Benedum Center by a highly polished cast of contemporary actors. The Music Man is back in town and the Pittsburgh CLO is sponsoring its visit now through July 14.

          Things start off snappily with a carefully choreographed “Rock Island,” in which a group of traveling salesmen jostle in close synchronization to the jolts and sways of the train they’re traveling on. In this quick moving ditty, we’re introduced to the infamy of Harold Hill, a fellow salesman whose real gig is conning people out of their savings.

In the title role of the unscrupulous snake oil salesman, celebrated actor Charles Esten not only promises to supply the town’s boys and girls with musical instruments, uniforms and instruction books he also has a penchant for successfully wooing some of the local maidens.

One fellow salesman actually remarks that he’s known for having a gal in every county in Illinois.

L to R Ryan Cavanaugh, E. Clayton Cornelious, Kammie Crum and Nikki Renee Daniels Credit kgtunney Photography

Things begin to play out to form when he arrives in River City, Iowa. He soon has the townsfolk under his spell, handing out to him their hard-earned cash to turn their kids into a performing band of youthful musicians. Everyone but the town’s mayor, played with amusing gusto by E. Clayton Cornelius, is dupped by his charisma and pie-in-the-sky promises.

Another local reluctant to fall under his charms is the comely librarian, Marian Paroo, played by the lovely to look at and silken voiced Nikki Renee Daniels. Eventually, she, too, comes around and is captivated by him and his persuasive ways.

L to R Charles Esten, Cissy Rebich and Nikki Renee Daniels Credit: kgtunney Photography

Marian lives with her mother (Cissy Rebich) in an idealized American house on a typical tree lined street. It’s just one of the many lovely scenic touches designer James Fouchard manages to create. So numerous are they that they prompted my theater companion to remark that she thought the production had more wonderful sets than she’d ever encountered in previous CLO shows.

As mother Paroo, Rebich constantly reminds Marian with an Irish brogue a thick as recently churned butter that it’s time for her to get married. Marian resists and insists she’s waiting for the right man to come along, singing out her point of view in “My White Knight.”

Mother Paroo also has to deal with her shy and retiring son, Winthrop (Emmett Kent), whose lisp sometimes makes him the butt of some biting remarks. Thankfully, the reticent boy finally comes out of his shell and stars in the playful reprise of “Gary, Indiana.”

Lovers of barbershop quartets have their moment when Olin Britt, Oliver Hix, Ewart Dunlop and Jaycey Squires croon in close harmony “Sincere” and follow up later with “Goodnight Ladies.”

One of the most amusing musical moments occurs twice in the show when the mayor’s wife, Eulalie (flamboyantly portrayed by Christine Liatta) and her fellow band of female townsfolk kick into “Pickalittle,” a tune that reminds me of a coop of cackling hens. And there’s the ridiculous “Shipoopi,” that makes you wonder what Meredith Wilson was on when he wrote it.

While “The Music Man’s” homespun plot is as corny a Kansas in August, it’s the songs and budding romance between Marian and her would be beau that carry the show on its shoulders. Along the way, the plot does keep the audience wondering if, Hill’s affection for the librarian is real or merely a guise. Is he the real deal this time around or just more of the same?

L to R Charles Esten and Nikki Renee Daniels Credit: kgtunney Photography

The couple do get their Fred Astaire-Ginger Rogers moment in a graceful dance sculpted by choreographer, Mara Newberry Greer, who also seems to have brought out the best in high kicking, limber beyond human endurance, Nick Alvino. He seems to give his over-the-top dancing everything he’s got and also sketches out an interesting rendition of Tommy Djilas, a lad with an ornery streak who’s in love with the mayor’s daughter, Zanetta (Kammie Crum).

Sara Edwards directs this nostalgic look at a classic American musical and keeps all the moving parts running smoothly and flawlessly. Esten anchors the show with his captivating ways, allowing his costar, Marian to shine in a decidedly complimentary fashion.

 Near the end, when Hill’s notoriety begins to catch up with him things look like events might end on a sad note. Go see the show for yourself to learn if romance wins out the day or if Hill’s long history chicanery finally gets its day of reckoning.

   The Music Man, a Pittsburgh CLO production is at the Benedum Center, 237 Seventh Street in Downtown Pittsburgh through July 14. For tickets, phone 412-456-6666 or www.pittsburghclo.org.