The Music Man

Meredith Willson’s affectionate salute to 1912 small-town America The Music Man with its homespun philosophies and warm identifiable characters has always held appeal for community theatre companies employing as it does a multitude of characters and large chorus. One of the major strengths of Queensland Musical Theatre’s production of it was the choral work of the company. They thrilled harmonically in “Iowa Stubborn” and “The Wells Fargo Wagon”, producing a big, glorious Broadway vocal sound.

The story of Harold Hill, the sweet-talking con-man who gets the town to believe in the ‘think’ method of musical education, still comes across as highly original and with a great deal of charm. Shane Webb’s Harold was totally believable in huckster mode and had empathy when he realised he’d fallen for the charms of Marian the librarian. His robust baritone added colour to “Ya Got Trouble” and “Seventy-Six Trombones”, whilst his “The Sadder but Wiser Girl for Me” was a vaudevillian delight with James Rogers’ (Marcellus).

Opposite him as the love interest Marian, WAAPA graduate Lauren Ashlea Fraser’s lilting soprano soared on “My White Knight” and brought warmth to “Goodnight My Someone”. Together their vocals excelled on the show’s most famous song, “Till There Was You”.

Connor Clarke, Zachary Vella, Guy Harvey and Livio Regano harmonised well as the Barbershop Quartet and with their female counterparts Maud Dunlop, Sally Kennedy, Amy Cooper, and Kristin Metzeling, made “Goodnight Ladies” and “Pick-a-Little, Talk-a-Little” one of the first act highlights.

The other highlight was the company whooping it up in “Shipoopi” which showcased a lively routine by Julianne Burke.

Displaying a genuine Irish brogue, Fiona Buchanan was the perfect Mrs Paroo, likewise Oliver Cameron’s Winthrop who made a song-and-dance meal of “Gary Indiana”. Keegan Plumridge (Tommy) and Emma Whitefield (Zaneeta) coupled-well as dance partners, William Carr (Charlie) was zealous in his desire to spill-the-beans about Harold, while Ros Booth (Eulalie Shinn) had fun as a disciple of modern dance.

Deian Ping’s direction was static, not helped by slow scene-changes, and at times Julie Whiting’s orchestra was scrappy, but despite that Willson’s score won the day with its simplicity, invention and gorgeous melody.

Peter Pinne