THE MUSIC MAN IN SEATTLE IS BETTER THAN EVER

As I sat in the audience at The 5th Avenue Theatre for opening night of The Music Man, a surprising thought blew through my mind with the force of … well … 76 trombones.

If my ancestors had not decided to leave Iowa in about 1890 to come to Seattle, I would have been an Iowan, an Iowan descended from people much like the Iowans in Meredith Willson’s fictional town of River City.

Noah Racey (center) as Harold Hill with the company of Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

This show, which runs through March 10, was not only well worth the drive from Tacoma, but also a trip back in time to what could have been my own hometown. My grandfather once wore knickers like the boys on the stage and could have kissed a girl on a similar footbridge, visited a similar library, or experienced the same small town repression, gossip, and boredom as the characters in this beloved musical. Thinking of my family’s Iowa roots, I realized why The Music Man endures; beneath the unforgettable songs, comedy, fun lyrics, and dazzling dance scenes, it’s still a story inspired by real people who lived in a real place—Willson’s hometown of Mason City, Iowa, where he was born in 1902, in my grandfather's generation.

 

Memories of a Mid-Western upbringing so inspired him that he dedicated eight years of his life (and forty revisions) to examining and preserving those memories in a musical, writing the book, music, and lyrics. And it was his first attempt at such a daunting project. In doing so, Willson created a funny, entertaining, and yet true-to-life look at human nature and small town society, including people's hopes and dreams, the gossips, politicians, societal pressures on women, childhood without a father, and other issues that make it as relevant today as it would have been to my great-grandparents.

Marian the librarian (Laura Griffith, left) and Harold Hill (Noah Racey, right) in Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

When it comes to taking something old—like The Music Man, winner of the Tony award for Best Musical in 1958—and making it new again, no one meets the challenge with more finesse  and originality than The 5^th Avenue Theatre. It was last produced here in 1995, but not like this. Executive Producer and Artistic Director David Armstrong called the current version “a fully realized production as you have never seen it before.” I just call it “great.”

Gabriel Corey (center) as Tommy Djilas with the company of Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

The whole perfect package represented, as usual, the kind of teamwork that makes every production at this theater spectacular. But I must say that no one aspect thrilled me more than the dancing. Of course I loved the music and lyrics, (kudos to every member of the fabulous 20-piece orchestra) but no previous exposure to The Music Man prepared me for the fresh excitement sparking this stage, thanks to the three-way combination of Joel Fram’s musical direction, Bob Richard’s choreography, and the talents of all those amazing dancers.

The company of Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

 

None impressed me more than Noah Racey in the leading male role of con man Harold Hill—who sets up the dramatic problem when he convinces a whole town to pay for band instruments, lessons, and uniforms for a boys’ band he never intends to form. Some of his footwork caused me to hold my breath, and his moves in sync with the lovely Laura Griffith, who played the female lead, Marian (the librarian) Paroo, flowed along flawlessly. Everyone in the ensemble looked so polished.

Harold Hill (Noah Racey, left) invites Eulalie Shinn (Laura Kenny, center) to head up the dance committee with the company of Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaok

 

Colorful, period-perfect costumes and equally perfect hairdos, by Gregory A. Poplyk and Mary Pyanowski, respectively, plus Martin Christoffel’s clever sets, created the look and ambience of 1912 and made me feel nostalgic for an America I never actually knew. I’m a huge, huge fan of Tom Sturge’s lighting design, and in this production he brings the evening’s glow and eventual twilight to a cloud-strewn sky so gently and realistically that I expected to hear the crickets start to chirp any second. Beautifully done.When it came to the singing, I would have to give the prize to Griffith. Her beautiful soprano voice carried her lyrics clearly throughout the theater, and she brought tenderness to the character of Marian. But then there was also the show within the show, the barbershop quartet, a total delight.

L-R Olin Britt (Hugh H. Hastings), Oliver Hix (Eric Polani Jensen), Ewart Dunlop (Greg Stone), and Jacey Squires (Aaron Shanks) make up the school board and barbershop quartet in Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

 

How pleased I was to see Anne Allgoodagain, one of my favorites at The 5^thAvenue. Perfectly cast, she brought warmheartedness, plenty of personality, and good humor to her role as Mrs. Paroo, Marian’s mother. The Shin family—Mayor Shin, so colorfully portrayed by Jeff Steitzer, along with Laura Kenny in the role of his dramatic wife, Mrs. Shin, and their daughters —provided the kinds of characters every small town needs and kept the laughs coming.

Harold Hill (Noah Racey) and Marian Paroo (Laura Griffith) in Meredith Willson’s The Music Man at The 5th Avenue Theatre.
Photo: Mark Kitaoka

In addition to this being a rollicking good time, a few important messages come through.

· Lies always cause trouble for those who tell them.

· We should not jump to conclusions about the morals, motivations, and private lives of others.

· Sometimes love comes along when we least expect it.

· And love changes everything.

My ancestors’ wanderlust and the lure of the West meant I did not grow up an Iowan. But it was fun to pretend I had, while losing myself in this delightful production. Even if you’ve seen The Music Manbefore, go see it again as if for the first time. I can tell how much creativity and love went into this particular version.And remember; love changes everything, for the better. Don’t miss this show.

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