A Music Man For The Ages? Well . . . .

There comes a moment toward the middle of the first act in the lavish, new, star-studded Broadway production of Meredith Willson's The Music Man when you begin to wonder if all the razzle dazzle on the stage will be just that -- an incredibly slick production with little more to show for itself. 

After all, by this point in the show the great Hugh Jackman has already delivered two boffo numbers (Ya Got Trouble and Seventy-Six Trombones) that literally define the iconic role of the roaming con man Harold Hill who simultaneously charms and hoodwinks a small Iowa town in the early 1900s. And Jackman moves so quickly and with such confidence that it almost takes your breath away. And yet . . . .  to what purpose? 

But then something happens. The action slows down a bit and Hill finally confronts the biggest challenge he's ever faced when he enters the hushed domain of the seemingly constricted Marian Paroo (Sutton Foster), the town librarian. She's shrewd, she's smart and she's the most formidable object standing between him and the fast buck scheme he hopes to pull off. Jackman takes the pace down a few notches and glides into the brilliantly choreographed Marian The Librarian number, an elaborate ensemble piece that involves carefully crafted tosses, turns and delicate gymnastics among Jackman and the younger  townsfolk. It's fascinating to watch. 

And here, the subtle chemistry between Hill and Paroo nurtures a graceful ballet. Yes, he's testing his luck but he's doing it with an agility that is as light as a feather. And yes, she's feigning annoyance but she's actually more than intrigued; she's increasingly captivated. And it's all told wordlessly through Warren Carlyle's ingenious choreography and Jerry Zaks' careful direction.

At this moment The Music Man loses whatever hard edge it may have had and turns romantic. Now, it's a love story. And it's the love story that will propel it forward to its inevitable, exuberant conclusion. Of course, the first act closer, The Wells Fargo Wagon is one of the most joyous moments in all of musical theater and here it's played to the hilt. By the time the wagon comes around the bend and rolls onto the stage you can feel the giddy expectation of a small town and the wonder of a little boy with a dream. In his Broadway debut as Marian's little brother, Winthrop, Benjamin Pajak melts your heart. And this is part of the love story, too.

From there on in, The Music Man is on its way to heaven. Still, it's the intimate, more poignant moments that give the story depth and lend it meaning. Again, a smaller number like Gary Indiana captures a magical moment and Foster's rendition of Till There Was You is so lushly romantic that you can hear those "bells on the hill" ringing. 

It's clear that the Broadway gods have been at work here, lovingly embracing and recreating a show that has come to epitomize what's now looked upon as the Golden Age of American musicals. And in this case the gods are the producers (Barry Diller, David Geffen, Kate Horton and Fictionhouse), director Zaks, choreographer Carlyle, scenic and costume designer Santo Loquasto and the entire cast. Jackman and Foster have given this great production a youthful, playful feel and they are obviously enjoying every minute of it. Plus, Jefferson Mays as the Mayor, Jayne Houdyshell as Eulalie, and Marie Mullen as Mrs. Paroo all shine in their respective roles. In fairness though, it's hard to find a miscast person in the entire bunch.

With a cast of more than 30  and a 24-piece orchestra, The Music Man is a big production that faithfully holds true to Meredith Willson's vision but does so with a modern sensibility and up-to-the-minute stagecraft. It's really a spectacle but a spectacle rooted in small-town values with an enduring, uniquely American lesson that should resonate with all of us right now: we're not perfect; we're not even always honest or true to ourselves; we've all got a bit of chicanery in us but with faith and a little help from one another, we can find our way forward.

This is why Broadway was born!

A word about tickets: This is one of the hottest tickets on Broadway right now and prime seats do not come cheap. Most of those who are finally seeing the show today wisely  purchased their tickets a couple of years ago before the pandemic and the lockdown. Fortunately, because the show is so big you don't need to buy the top-priced ticket and you can still enjoy it. Also, $49 rush tickets are available on the day of performance at the Winter Garden Theatre Box Office. Rush tickets are available on a first-come/first-served basis starting when the Box Office opens each day. Limit two (2) tickets per person. Subject to availability and be prepared to stand in line!