Review: The Music Man
Spoiler alert! The simple story arc of The Music Man is that a con man—who travels from town to town, peddling the myth that he can create a children’s orchestra to delight and charm the locals, before running off with the funds—is transformed, through love, to become a solid and respectable citizen. However, I came away from the Savoyards’ production with the sense that this a story about a swindler who remains in a town long enough to see that his promises can turn into reality—because he creates a sense of self-belief in members of the community, and because is loved for what he really is (and not for what he pretends to be).
The Music Man is not my favourite musical, by any stretch, but this Savoyards production is worth seeing for the great work by the leading man, David West, for the ensemble numbers, and for the charming performances by the younger members of the cast. West’s Harold Hill is a charismatic swindler who more than meets his match in the River City Librarian, Marian Paroo (played by Amy Winner, who was particularly impressive in managing the challenging vocal range demanded by her role). The old adage of not working with children almost came true, as the ebullient performances by the younger members of the cast conveyed the sheer joy of performing on the big stage, with some great dance moves and engaging singing. Hats off in particular to Oliver Dobrenov (who brought an artful dodger confidence to the role of Tommy Djilas), Vincent Taylor (Winthrop Paroo in the opening night performance, a role shared with Jeremiah Rees), and Lucy Cavanough (the opening night Amaryllis, in a role shared with Tia Godbold).
I mentioned that The Music Man is not my favourite musical. Even with the recent tweaks, to make it less politically incorrect, I think this is mainly because I feel it doesn’t have enough variety in the musical numbers.
However, I really loved many of the Savoyards’ set pieces. The rhythmic ‘Train Opening/Rock Island’ piece was excellent, where the chatter of the travelling salesmen perfectly mirrored the clatter of the train over the tracks (featuring James Thomson as the anvil-selling Charlie Cowell). The ‘Pick-a-Little, Talk-a-Little’ numbers were beautifully sung and performed (Johanna Toia, Delwyn Button, Bec Ross and Rosie Odsey). The barbershop singing and acting by The Quartet was harmonious (James Riley, Douglas Berry, Jordan Ross and Patrick Bishoff), and I particularly enjoyed the second act duets between Winner and West.
Picture: The Savoyards’ promotional image for The Music Man, featuring Amy Winner (Marion Paroo) and Vincent Taylor (Winthrop Paroo). Image credit Sharyn Hall, Savoyards (Note: Not a Creative Futures Photography image).
As always, the Savoyards creatives are well-placed to deliver a successful show (Chole Harrison, Executive Producer). The set design, by scenic artist Breanna Gear, is excellent—evoking a sense of a home-made toy that imagination transforms easily from a library interior to the River City Town Square. And particular congratulations to Sherryl-Lee Secomb (Director), Desney Toia-Sinapati (Choreographer), Geoffrey Secomb (Musical Director) and Kim Heslewood (Costume Design). The show flowed seamlessly through and across the stage, the costumes were quite lovely, the dancing was suitably hometown and professional, and the brass had to be the best I have heard from the Savoyards Orchestra.
I would have liked a little more subtlety in the lighting, but I guess that the creative vision was to build a childish story-book feel (David & Chloe Harrison, Lighting Design). And my only criticism of the otherwise excellent sound was that the ensemble ‘Pick-a-Little, Talk-a-Little’ numbers needed to be dropped back, to ensure that the critical individual lines are a little clearer (Andrew Herman, Sound Design). But I am sure that these opening night observations will easily be addressed for the rest of the run.
There just isn’t space for me to individually mention all members of the enthusiastic cast (listed in the excellent program, and online). Which is a pity, as I can see that putting on a show at this level requires a high degree of commitment and enthusiasm that deserves to be applauded. Here’s hoping that the cast and creatives enjoy the rest of The Music Man, and take a few moments to catch their breath before the next Savoyards show.
Verdict: The Music Man is not my favourite musical, by any stretch, but this Savoyards production is worth seeing for the great work by the cast and creatives—in particular of the leading man, David West, and for the charming performances by the younger members of the cast.
Audience information: The Savoyards production of The Music Man at the Iona Performing Arts Centre (85 Noth Road, Lindum) opened 23 September and runs until 7 October, 2023 (8 shows). 120 minutes (plus 20 minute interval). Limited smoke haze. Tickets $30-52 (plus $1.30 processing fee).
The reviewer attended the 7:30pm performance, 23 September 2023.
Book, Music & Lyrics by Meredith Willson (story by Meredith Willson & Franklin Lacey). Licensed exclusively by Music Theatre International (Australasia). All performance materials supplied by Hal Leonard Australia.