REVIEW: ROUSING "MUSIC MAN" LIFTS RAFTERS AND SPIRITS @ VENERABLE SUMMIT PLAYHOUSE!

By Ruth Ross

I am in love. For whom, you may ask, is a senior citizen drama critic declaring her love? Why, Brendan Lynch-Littlejohn, of course, who portrays the charming scoundrel, Prof. Harold Hill (right), in the sparkling production of Meredith Willson's musical theater chestnut, The Music Man, now onstage of the historic Summit Playhouse through November 2^nd.

The musical’s plot revolves around the efforts of slick con-artist traveling salesman Harold Hill, who suddenly appears in the Iowa hamlet of River City in the summer of 1912, ostensibly selling band instruments (and lessons and uniforms) as a way to keep the town’s youth out of trouble (“That’s spelled with T and it rhymes with P and that stands for Pool”) in the new billiard parlor that just happens to be owned by the town’s mayor. Hill is the type of man who gives traveling salesmen a bad name (as if they hadn’t one already: “Didya hear the one about the traveling salesman” is the beginning of many a bawdy joke) and he goes about his con with great style and verve. He wins over most of the townsfolk, most prominently Marion Paroo, the rather snooty librarian, only to find himself unable to leave town before he’s unmasked because he’s fallen for her, hard.

On an evocative set designed by John A.C. Kennedy  and constructed by Roy Pancirov and Ed Whitman, director John A.C. Kennedy marshals a large cast with  fluidity. Erin E. Strong’s intricate choreography is performed by the adults and kids of River City with great energy and agility. And a barbershop quartet of Luke Basile, Sean Coyle, Daniel Gardner and Casey Merritt embodies the small-town 1912 atmosphere so much a part of this terrific book and score.

Meredith Willson's  score is a pastiche of soulful ballads, rousing marches and patter songs that rival those composed by Gilbert & Sullivan and the hip-hop of Lin Manuel Miranda! In fact, the opening number, set in a railway coach, brims with fun and energy; the salesmen talk and talk (“Whaddya talk, whaddya talk” is a refrain), all the while moving to the train’s rhythm. It’s a great taste of what’s to come.

Every one of the principals matches that opener. Brendan Lynch-Littlejohn is every inch as slickly smarmy as the original, Robert Preston; his youthful look gives him a heart, making his transformation even more believable. Watching his long legs and arms as he struts and marches around the stage is pure joy. He sings the tongue-twisting "Ya Got Trouble" with precision and aplomb, and his sneaky wooing of "Marian, the Librarian" is both funny and sympathetic. Said Marian Paroo is played by Brooke Harrsch (right), whose clear soprano soars as high as did Barbara Cook (Broadway) and Shirley Jones (film), especially in "Goodnight, My Someone" and "My White Knight," both of which project the unfulfilled longings of a 27-year-old spinster.

As her mother, Mrs. Paroo, Lisa Barnett conveys the concern of a mother for her daughter to be happy; her credible Irish brogue is thick enough to spread on a slice of Irish soda bread! Chip Prestera is a stitch as Mayor Shinn, who mangles English vocabulary while trying to remain in political and commercial control of his town. Elle Michaeli (above, with outstretched arms) is wonderful as his wife Eulalie MacKecnie Shinn (she of the three names—always spoken together), who sings and dances as poorly as her hubby intones; she has great fun expressing her disdain for the author Bal-zac, whose name she loudly proclaims whenever she gets a chance. Little Harrison Heiss exhibits great stage presence as lisping Winthrop Paroo, who hides because he's afraid to talk but who gains "confidence" to sing a rousing rendition of "Gary, Indiana," a song taught him by Prof. Hill. And Richard Taylor Pearson (left) is quite fine as Hill's criminal confederate Marcellus Washburn, especially when he leads the entire population of Iowa City in a spirited performance of the nonsense song, "Shipoopi," accompanied by Strong’s lively choreography.

Director Kennedy deserves praise for eliciting these fine performances—especially those singing the fast-paced patter songs—and for marshaling a large cast that includes many children around the stage with alacrity and skill. Costumes designed by Ann Lowe convey the early 20^th century very well; especially notable are the plaid and striped suits worn by Prof. Hill. Ed Whitman’s lighting design is atmospheric, and kudos to Joe DeVico for the projections on the back wall of the stage that mark the change of scene from countryside to library, façade of town stores, a Victorian house and the stream that runs through the town without having to move backgrounds on and off the stage, taking up precious time. Musical director DeVico leads a 4-piece ensemble to accompany the fine singing performances.

As the inaugural production of the 2025-2025 season, The Music Man is just the ticket to lift your spirits and restore your faith in humanity, even if it does take place in 1912! Once again, the Summit Playhouse has outdone themselves to produce a professional, polished show that is perfect for ages 10 through 100.

The Music Man will be performed at the Summit Playhouse, 10 New England Ave., Summit, and runs through November 2: Fridays and Saturdays at 8 PM; and a matinee on Sunday, October 27, at 2 PM. October 27 and November 2 performances have only wheelchair and/or specifically held seats available. Please email the box office at mailto:summitplayhouseboxoffice@gmail.com if you have any questions. The wheelchair positions should not be selected by patrons who are not using wheelchairs.

For tickets and information, call 908-273-2192 or visit https://www.thesummitplayhouse.org/20-21-season.html online.

By the way, PBS had a wonderful 2023 documentary about Meredith Willson. You can access it HERE.