Music Man

Critiqued by Holly Bartges

After a much long anticipated wait, the Candlelight Dinner Playhouse opened in grandeur June 6 with Meredith Wilson’s much loved The Music Man. Although technical bugs crept in with sound and lighting, as technical bugs love to do in the midst of Grand Openings for a ceremonial bow, the expertise of the cast refused to allow the bugs to get in their way.

Set on a hill just south of Johnson’s Corner, the gorgeous building for Candlelight with ample parking grabs the breath. The incorporated rockwork outside and in is stunning. A large lobby with box office features rock columns, two fireplaces, and comfortable chairs. The theatre itself provides dark blue walls interspaced with rock columns. Tiers of tables rise up from the stage providing good viewing from anywhere in the theatre.

The menu provides gourmet choices from Lemon Herb Roasted Chicken to Roasted Pork Roulade to Baked Gorgonzola “Mac and Cheese”, to Macadamia Nut Encrusted Tilapia. A Kid’s Menu is available. For those who want to upgrade, there are several choices. The desert decisions range from Marquise au Chocolat, Raspberry Mont Blanc, Paradiso and Pear Torte (that is to die for) to scooped ice cream.

Actors serve the customers. Because of the quick, pleasant, efficient service received, it appeared the kitchen and wait staff to be well organized. When I mentioned this to one of the actors, she laughed and said she was glad the illusion was there. Bugs do love Opening Nights. It was not quite a sold out house, but close enough, championing a hefty enthusiastic audience. Deliberate overhearing of other conversations didn’t pick up any disgruntled or negative comments about service, food, or the show itself.

The large proscenium stage tends to dwarf some of the delightful set pieces designed by Peter Muller, in particular the opening scene with the Railroad Coach. The coach car is actually the perfect size for the cast, but it swims in the middle of the stage.

Charlie Cowell, strongly played by Steven Cogswell, and the Traveling Salesmen quickly take the mind away from technical issues with the rousing Rock Island song. The synchronization of the cast giving the impression of a moving train announced to the audience they were in charge. That’s exactly what one wants to hear, see, and feel at the beginning of The Music Man.

The train on its way to River City, Iowa, July 4, 1912 offers Charlie the opportunity to warn the other salesmen of a con man by the name of Harold Hill. He sells musical instruments, music, and band uniforms to a town to create their own band. There’s just one small problem. He doesn’t know a single note from a breadbasket. When the town discovers they’ve been taken by a quick thinking, suave, con artist Hill has fled with their money. This presents a murderous problem for other salesmen. The town is ready and willing to tar and feather the next salesman to cross into the city limits.

Well-known beloved musicals present unique challenges. Expectations come ladened with expectations. Harold Hill, whether he appreciates it or not, is surrounded by huge expectations of a strong, determined suave, handsome persona with a powerful voice, acting qualifications, and supple dancer. Candlelight has just what the doctor ordered in Jordan Leigh. Leigh sat across the table from Hill, looked him straight into the eye, and said, “I’m in charge.” He proves it with the song Trouble.

Directed by Marcus Waterman, and choreographed by David de Benedet, River City, Iowa comes alive in characterizations with all of their idiosyncrasies in tact.

Gina Schuh-Turner with her golden voice does wonders for the uptight-don’t-touch-me-I’m-brittle-with-a- heart-aching-to-melt Marian. The pairing of Schuh-Turner and Leigh sets the bar high.