The energy in the audience matched the energy on stage Thursday night as Players West opened its one-weekend-only production of The Music Man at the Clark Center for the Performing Arts.
The joyful vigor—and lively talent—exhibited by the more than three dozen performers of all ages was often rewarded with applause by the 300-plus crowd throughout the two-and-a-half-hour show.
Many of the familiar numbers in Meredith Willson’s oft-performed musical had audience members clapping along (if not actually singing along sotto voce). After all, who doesn’t know the words to “Seventy-Six Trombones” (one of the many successful opportunities for the engaging Gregory Gorrindo to make the title role his own) or the barbershop standard “Goodnight Ladies” (lovingly and wonderfully performed by Hunter Boaz, Darin Gabler, Larry Pena, and Nick Shiro, who could get professional gigs as a quartet—if they aren’t one already).
For all the hard work, talent, and joy that obviously went into this show, it’s a shame that it only runs one weekend.”
Gorrindo’s voice and articulation of his salesman patter, evident from the get-go in the infamous “Ya Got Trouble” number, sets a high bar for the entire production, and we are never disappointed.
Rebecca Johnson makes a musically warm and inviting Marian (yes, sing along . . . “the librar—–ian”). Carson Seely as her brother Winthrop sings “Gary, Indiana” with such stage presence you just want to hug him. As a matter of fact, the dozen or so young people who help populate the stage provide much of the show’s excitement in their freewheeling dancing, gymnastics, and voices. Sophie Kirby as Zaneeta, Stephen Schrei as Tommy, Maya Kirby as Gracie, and Cambrie Heckathorn as Amaryllis are all delightful, and members of the ensemble (both young and old) provide a presence that speaks volumes of community support for this production.
Even the “bad” guys are good. “Reformed” conman Marcellus (Zach Johnson doing quadruple duty as director, choreographer, and set designer as well) and travelling salesman Charlie (David Trajan, whose voice is as perfect for a villain as you can get) are there to underscore the wholesome, small-town vibe of River City, Iowa, circa 1912. They provide some nimble dancing and deliver some provocative messages, respectively.
Precise costumes (by Sherry Sparks) and props (by Lizz Kawamoto and Danny Peirce) fill out the spare but effective set pieces and backdrops that make effective use of the generous Clark Center stage. Love the nod to Grant Wood in the “Iowa Stubborn” number that introduces the residents of River City, including a bombastic mayor (Jim Dahlman, so good he should run for public office), his equally pompous spouse (Jessica Villasenor, gamely sporting a number of colorful ensembles—one so patriotic you’ll know it must be the Fourth of July), and Marian’s mother Mrs. Paroo (Val Pallai, so homey you want her to bake you a pie).
For a cast this size on a stage this size, scene changes and transitions are handled efficiently and with little distraction, thanks to skillful stage management (good job Brittany Woolley and crew) and effective lighting (good job Rick Pierce and crew). Equally impressive is Mark Robertshaw’s musical direction that allows his singers to show off their best.
For all the hard work, talent, and joy that obviously went into this show, it’s a shame that it only runs one weekend. Through word-of-mouth alone, another weekend would likely sell out.