For most theater fans, the past year has brought with it certain challenges. The pandemic has shut down a lot of social events, leaving artists to find clever workarounds to stay afloat. Nobody was sure when those theater doors would open up, the curtain separating for the first time to welcome a group of actors to the stage.
In Westminster, CA, The Rose Center Theater has embraced the motto that the show must go on. With easing restrictions, they welcomed audiences to their first show in well over a year with Meredith Willson’s Tony-winning musical The Music Man. With 2021 also marking 15 years since the inaugural season, it is a perfect time to celebrate what makes the performing arts such a unifying experience. Over the course of two hours, the actors bring to life one of the peppiest stories about a traveling con artist with an even more memorable songbook to boot. The results feature all of the jubilant highs one would expect, leaving plenty to cheer for.
As outlined in the opening song “Rock Island,” The Music Man is a show about a man by the name of Harold Hill, who sells instruments to gullible folks in Middle America. He is built like an old vaudeville character, able to spin a yarn out of the mundane that gets his unsuspecting public to buy his nonsense. It is best displayed in “Ya Got Trouble” where he hops atop a soapbox in River City, IA and uses the recent purchase of a pool table to suggest the demoralization of society. It’s one of many highlights that finds his witty rambling leading to delightful melodic backing by the townspeople, reflecting their willingness to believe anything he says. By the time he sings “Seventy-Six Trombones,” he has worked his magic on the crowd, enjoying a group of youthful actors playing invisible instruments with impeccable line dancing.
For a production that’s relatively small, it manages to fill the stage with consistent purpose. This shines through most in minimalist sets, largely defined by backgrounds projected on a screen while actors bring the few essential props into the next scene. The costume work is at times modest, though the performances help to reflect where the talent is. Everyone has a spring in their step, able to mix musical styles often within the same scene without missing a beat. In moments like “Pick-A-Little, Talk-A-Little/Goodnight Ladies,” there’s a balance between two songs with opposing meters sung by ensembles. The way that conversation can be had in the middle of it all is an impressive feat. The fact that it all works is a sight to behold and a perfect example of why this show has resonates over a half-century later.
Another reason why Rose Center Theater’s production was worth seeking out is how talented the ensemble is. Along with a group that achieves some challenging harmonies, many of the actors are accomplished dancers. One of the highlights comes in “Marian the Librarian” where a group performs a routine full of small comedic moments. They’re supposed to be reading books quietly while slowly beginning to dance around the room. With books in their faces, they spin and shuffle in ways that punctuate Hill’s plea to have Marian date him. At other points in the show, they perform flips and various spins, including an enthusiastic and triumphant finale.
The center of the show features a worthwhile performance by Tim Nelson as Hill. Along with being the company’s managing director, it’s clear that he has a passion for the role. He brings dimensions to the character, managing to make him both deceptive and charming. It’s easy to feel like you’d be persuaded by him and take his side when River City catches up to his shenanigans. He’s also a compelling romantic lead, having a retro charm as he tries to woo Marian (Melissa Cook). The supporting cast features a balance of stereotypical niceness with more complex emotions underneath. In some ways, the plot’s invisible goal opens up the characters in small but endearing manners. It’s about finding one’s confidence, which is one of the few things that cannot be bought from The Wells Fargo Wagon.
There is a reason that The Music Man has been considered one of the quintessential American musicals. While there’s now a largely nostalgic undertone to its charm, it’s ultimately about celebrating the simple ways of living without denying the complexities. It’s a chance to witness fun song and dance while winking at the audience. We’re all aware that some of this is artifice, that Hill is scheming River City, but it’s hard not to like every cornball line. There’s a genuine effort put into making these songs pop. Even the fact that it can be done with minimal props and costumes shows how versatile this work is. So long as there’s a passion to bring the material to life, it’s going to be a reliable evening of theater.
As far as shows to check out in the wake of a pandemic, The Music Man is a great choice. It’s a reminder of how a talented community can come together to put on a show. Even if the instruments are largely invisible, there’s still plenty of spectacle. Thankfully the cast at Rose Center Theater have plenty of charisma to elevate the show, bringing visual awe to the songs while the harmonies amaze. The effort is on full display, where every actor brings something invaluable to the show’s overall appeal. The only question left uncertain by the end of the show is how soon until their next big musical. Hopefully, it will be just as refreshing and welcome as the work on display here.
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