THE MUSIC MAN

In the middle of the World Series, which is between two of the smallest market teams ever, comes this show that is considered to be a “love letter to midwest America and small towns everywhere,” as Center Theatre Group’s website states. So this is perhaps the perfect time to see the National Tour of Meredith Wilson’s The Music Man at downtown LA’s Ahmanson Theatre, which is just what my friend Roz and I did last night!

I’ve seen this iconic musical many times throughout my life, the most recent being seven years ago. But none have been better than this production.

In this day and age of grittier, less-musical musicals, it’s pretty much a breath of fresh air to see one of the most old-fashioned, (both in story and history—the original show opened on Broadway in 1957!,) classics of all time, which features big, colorful production numbers. I loved it!

I rarely mention directors, but I must laud this one, Matt Lenz. The Music Man has a gigantic thirty-four member cast, all of whom are fantastic, so I give major kudos to Matt for all of it.

From the moment the show begins, with the clever scene of salesmen talking, (which I always muse is the precursor of rap,) on a moving train, (which is done so well, with background video and the performers simulating being on one with their body movements, that I wondered if I’d get motion sickness from it!,) it’s thrilling. The opening night audience went nuts for every number!

Both Roz and my favorite aspect of the show is the high-energy dancing. She said it’s “out-of-this-world!” All the young dancers are incredible. I could have watched just them all night. They are so excellent, in fact, that their fabulousness even choked-up me up on occasion! I usually hate the second act number Shipoopi, but I adored it this time because the dancing is so wonderful, with perfect and clever choreography.

And it’s all put together by Emmy-winning and Tony-nominated choreographer Joshua Bergasse. I’ve been a fan of his work before, and didn’t even realize it was his! He choreographed the 2017 Off-Broadway musical Cagney, (which I saw here in LA,) and the TV show Smash, (which he also choreographed when it later became a Broadway musical.) The dancers are uber-lucky to get to work with him so early in their careers.

And this Music Man has beautiful visuals. There are very pretty scenic paintings along the way, along with interesting ever-changing little images up and down both sides of the stage. And the huge cast creates lovely tableaus whenever they’re all together.

Roz especially enjoyed the costumes, saying they’re “terrific!” She said they reminded her of Main Street in Disneyland. And I must say that this touring company got quite the coup by having them designed by the very famous Santo Loquasto. I’ve been familiar with his name forever because he’s worked on over thirty Woody Allen films, many as the production designer, as well.

One thing that surprised me is that, despite seeing The Music Man only once since I was a little girl, I knew every word of every song!!! That must be due to my parents playing the original Broadway cast album often through the years. But I especially know the love song, Till There Was You, because…the Beatles recorded it, which was a crazy choice for them back then! (As a tiny girl, I imagined that Paul was singing it to me. Of course. Still do, actually.) Even Roz, who knows next to nothing about musicals, whispered, “Isn’t this a Beatles song?” She thought that Paul McCartney had written it, and then it was put into The Music Man. She was worried that he wouldn’t have received the writing credit. (Luckily for her, I was there to break it all down, letting her know that Meredith Wilson wrote the song—and all the music, lyrics, and even book!—and the Fab Four just covered it about a decade later.)

As to the cast, Elliott Andrews, who carried the show as Professor Harold Hill, is charming. His rubbery moves reminded me a bit of Ray Bolger, (which is a great thing.) That guy is hardly ever off the stage! I don’t know how he does it; he must receive oxygen when he exits for a minute or two!

And Elizabeth D’Aiuto as his reluctant love interest, Marian, the librarian, has an excellent, powerful, operatic voice. Those two got cheers from the opening night audience for their kiss, like we were in elementary school! I got a kick out of that. The comedic stand-outs for me are Emmanuelle Zeesman and Patrick Blashill and as the Mayor and his wife. That duo got laughs on just about every line.

I had forgotten that the shyster “professor” says he’s teaching the town’s children to play instruments on the “Think System.” It amused me in a different way now because, although that was a big joke back in the day, it’s similar to today’s “visualization” and “positivity” conjuring. I doubt it would work on giving someone the ability to play music, but you never know—I really do believe those things come through in a lot of situations.

I enjoyed many of the lines, some that are still very relevant today. One stated that there’s ”never a peaceful moment in the music business”; I have plenty of friends who will attest to that. Another line is, “You pile-up a bunch of tomorrows, and you have a bunch of empty yesterdays.” Amen to that one, which many of us should keep in mind. (Guilty.)

And lastly, I must reiterate that, despite my having eclectic taste, after seeing a few recent new-fangled, depressing, violent, and sad musicals, The Music Man was a pleasure indeed. I even cried when the band came out near the end! So I hope that all of you get to experience the fun, as well. But hurry because this is a short run.

The Music Man running through November 8, 2026
Ahmanson Theatre  135 N. Grand Avenue
213-972-4400 www.centertheatregroup.org