Opera House’s ‘The Music Man’ melts the hearts of all
By: Lisa Hunyh - July 13th, 2010
THE MUSIC MAN
Thalian Hall, Main Stage
310 Chestnut Street
July 16th-18th and 23rd-25th, 8 p.m.
Tickets: $23-$25
(910) 343-3664
"I’m no Robert Preston,” Jason Hatfield, who plays the very deceiving but very amiable Harold Hill in ‘The Music Man,’ says. While Hatfield speaks true about Preston’s unparalleled performance in the 1962 film, Hatfield presents Hill as an unlikely hero and musician of small-town Iowa. Though he may look a bit rough around the edges, Hatfield portrays the character in a non-sugar-coated way, but more pure and effortless. Hvaing worked with the one Robert Redford on the upcoming film “The Conspirator” last fall, the local actor has an unfaltering voice that will not quit, as he clearly shows in the breathless score “Ya Got Trouble.”
“The Music Man” itself is a musical of dubious salesman Harold Hill, who takes on the rigid town of River City, Iowa, slowly persuading the townspeople into investing in a boys band and believing him to be a music professor, although he knows nothing of either subject. His empty plot, however, gets distracted when he finds himself falling for the music teacher and librarian, Marion, played by Heather Setzler.
“The Music Man” opens a window into the meaning of American life in July 1912, where the scene takes place. This era, according to artistic director and founder Lou Criscuolo, is a both simple and pure time from which people of today could learn a lesson or two. Director Suellen Yates stays true to Criscuolo’s belief—and perhaps even Meredith Wilson’s.
The screenplay, execution of props, cast and scenery blend in a perfect, harmonious romp that gives way to a performance that satisfies the heart, steadies the mind, and adds a gleeful smile to every face. Similarly, choreographer Kendra Goehring-Garrett creates upbeat, playful routines. Yet, she still stays loyal to the original steps of the 1962 film, as shown in the musical number “Shipoopi.”
Celebrating the 25th anniversary summer season of the Opera House Theatre Company, “The Music Man” also presents a cast so flawlessly complementary that despite the ranges in ages—adults to teenagers, elderly to children—all sizes, small and large, and voices, baritone or soprano, connect intensely.
Lead actress Heather Setzler gives the impression to be stern, yet she surprisingly shines as brightly as the star she sings to in “Goodnight, My Someone.” The melodious reappearing Barbershop Quartet, the bickering ladies of River City and lisping, cheerful sweetheart Winthrop Paroo, played by young Dru Loman, also add whimsy and engagement.
In short, “The Music Man” can captivate all audiences—especially those who cherish the fundamental morals of American culture. The timeless love story of the beast-turned-beauty—or close to—comes off as absolutely charming, from beginning to end.
