The touring production of Meredith Willson’s “The Music Man” that opened Tuesday at the Ahmanson Theatre isn’t an Actors’ Equity Assn. production. When I listed the revival, directed by Matt Lenz, among my fall preview highlights, I assumed it would be of the caliber we have come to expect from Center Theatre Group.
I attended Tuesday’s opening and was disappointed to find a community-theater-level production beneath the superficial sheen of a commercial national tour. The costumes (by Santo Loquasto from the 2022 Broadway revival starring Hugh Jackman) are stunning. The painterly, storybook scenic design by Ann Beyersdorfer, engineered for maximum efficiency, is also lovely and blends beautifully with the Loquasto’s color palette.
The singing is robust, full-throated and spirited. Elizabeth D’Aiuto, who plays Marian, the librarian of this small Iowa town who captures the roving eye of traveling salesman and con man Harold Hill (Elliott Andrews), has a piercing soprano that many an opera singer would envy.
The barbershop harmonies spin an alluring web. The ensemble fills the Ahmanson with blazing, amplified sound. But the strong singing seems disconnected from the actual story. The music has little character. We might as well be watching a concert version of the show.
The problem is the acting, which is broad, detached and, frankly, often amateurish. I felt as if I were watching a polished troupe of semi-amateurs. The less said about the supporting cast, the better. The characterizations are unsubtle across the board. And how could it be otherwise when the actors seem more intent on impressing the audience than relating to one another?
Andrews seems particularly guilty of this sin. But then his character is meant to be smugly self-congratulatory. Harold Hill has come to River City to pull off another swindle. He’s selling musical instruments and costumes to a town that doesn’t yet even have a children’s marching band.
A wiry presence with a capering physical comedy spryness reminiscent of Dick Van Dyke (who starred in the 1980 Broadway revival of “The Music Man” that had a pre-Broadway run at the Pantages Theatre), Andrews makes a rather dashing and daring Harold Hill. He’s no Hugh Jackman, who had the Broadway audience in the palm of his hand when he essayed the role. But Andrews handsomely fills out the part and can sing appealingly when not too much emotion is required. But his theatrical self-absorption makes it hard to care about Harold and even harder to understand why Marian would fall for this transparent fake.
The magic of Marian’s love turning Harold into an upstanding man fizzles. Neither performer seems able to connect. Both are acting in their separate bubbles. It’s like we’re watching a pantomime of “The Music Man” with some glorious, blaring music.
For those who want to scratch an itch for golden age musical nostalgia, this sparkling yet empty production might suffice. But we should expect more from CTG, which is touting that this is the first major production of “The Music Man” to be done in Los Angeles in 46 years.
When I learned that this was a non-Equity production, I was disappointed that CTG was damaging its stature as a nonprofit theater leader by offering such an important showcase to this second-tier touring production. But now having seen the production, I’m more disappointed that audiences are being bamboozled as badly as the good people of River City.
Theatrical gimcrack is being palmed off as a precious stone. Yes, the score still shimmers, but not everything that glitters is gold.
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