There may be trouble in River City, but there’s very little trouble with The Dreamcoat Fantasy Theatre’s production of The Music Man.
There may be trouble in River City, but there’s very little trouble with The Dreamcoat Fantasy Theatre’s production of The Music Man.
The show opened Wednesday night for a four-night run at the Capitol Centre, and by the time the first performance was over the virtually full house had given it a standing ovation.
The Music Man was written by Meredith Willson, who translated the thump and razzle-dazzle of brass-band lore into a warm and genial cartoon of gaudy American life.
It features such famous songs as
Seventy-six Trombones and Till There Was You, later covered by The Beatles.
Expand the mindsSet in the fictional River City, Iowa—a tribute to the composer’s home of Mason City, Iowa—the action takes place in 1912 during the July 4 weekend.
River City, as effectively portrayed through the set design of Frank Kools and Marty Southcott, is a staid puritanical community run by the shady Mayor Shinn (Chris Morgan), who clothes himself like an undertaker and owns much of the town including a pool hall.
Shinn’s wife Eulalie Mackecknie Shinn (Joanne Bernier, in prime comedic form) dresses up like the Statue of Liberty or Pocahontas, as the occasion warrants.
Marian Paroo (Shelly Price), the town’s librarian, seems to be River City’s odd-woman out. Feared passed her marrying prime by her Irish mother Mrs. Paroo (Shirley Moore, with a stock washerwoman accent), Marian has the audacity to want to expand the minds of River City residents by filling the library shelves with books written by Balzac and Rabelais.
She’s also the subject of rampant speculation by the local gossips, who wonder about her relationship with the late Miser Madison, who funded the library and left the books to Paroo.
Then there’s Marion's younger brother, Winthrop (Nick Clarke), who has become introverted because of a speech impediment.
Doesn't know the territoryInto this milieu enters Professor Harold Hill (Robin Cameron) a roguish but charming con man, who fellow salesmen complain, “doesn’t know the territory.”
He plans to deplete the capital reserve of River City by persuading its residents they need to form a boys band to lure the youngsters away from a certain stick and ball sport, the evils of which he expounds on in Ya Got Trouble, “which starts with T and rhymes with P which stands for pool.”
Naturally instruments and uniforms and music books will need to be purchased, and Hill plans to take the money and run.
But he doesn’t count on falling in love with Paroo, once he melts her icy exterior. And his quest to fleece the town may have ended up being its salvation instead.
A nice touchThere’s much to like in this particular production, directed by Marty Southcott with musical direction by Micheline Pride.
Michelle Webster’s choreography is outstanding and features some outstanding tap dancing, particularly by Joceyln Bell.
The number Marian the Librarian also includes a fanciful dance number
utilizing oversized copies of classic texts as props, a nice touch.
Shipoopi features some high-energy moves and brings the audience right back into the show following the intermission.
One problem that should be addressed, though, is the groups of performers standing at the corners of the stage and blocking the sight lines for audience members not sitting in the center section of the hall.
A tad baggyCostume designer Lynn Morrison must have appropriated every piece of gingham in North Bay for her Sunday-go-to-meetin’ womens’ costumes, replete with some fine Easter bonnets.
The men look convincingly turn of the century too, although the pants of Cameron’s double-knit suit were a tad baggy in the seat and should have been taken in somewhat.
As well some of the younger set wore modern Velcro-strapped sneakers, which would not yet have been conceived of.
There’s also a young man wearing a great Afro that would have done Jimi Hendrix proud.
Relaxed, fluid performerProfessor Hill’s role was originally played on Broadway and in the movie by Robert Preston, who infused it with zest and gusto and a great big grin.
Cameron doesn’t—and shouldn’t—try to imitate Preston. His Hill is part game show host, part TV evangelist.
He’s an animated, energetic, and fluid performer with a smooth silky voice, who acts the part with confidence, aided by excellent facial and physical gestures.
It’s a delight watching him breeze through Ya Got Trouble and Marian the Librarian, which features one of the most clever rhymes in Broadway history, matching Marian with carrion.
Price has a lovely, clear voice and hits the high notes in Goodnight My Someone.
Comic relief is provided Cathy McCallum, Rebecca Mbolekwa, Cheryl Gould and Darlene Laferriere, as the town’s resident overactors.
Young Clarke handles himself well in Gary, Indiana too.
A barbershop-style quartet, Michael Arthurs, Raymond Gauthier, Jonathan Pride and John Hewitt, provide some lush harmonies when they’re not running after Hill looking for his credentials.
The show was not without some glitches, however, the worst coming midway through the second act when the sound system began to sputter.
Still the Dreamcoat Fantasy Theatre has delivered likely its finest and liveliest production to date. They definitely know the territory.
