The Music Man

 

“Iowa stubborn” charms

 

by Michael Kotze

 

December 20, 1956. It’s past four in the morning in New York City, and an exhausted Meredith Willson is at the piano. His wife Rini is at his side, singing a song destined to become one of Broadway’s great romantic standards, “Till There Was You.” The Willsons have been hard at work for more than three hours now, giving a cast-of-two command performance of Meredith’s fledgling musical comedy, The Music Man for a prospective Broadway producer.

 

              Two days ago, they had been home in California, with no travel plans on the horizon. But 48 hours can be a long time in the world of show business, and when Broadway calls, you get yourself to the phone. And if Broadway calls collect, you accept the charges.

 

Too midwestern for Broadway?

 

              Actually, it was Willson who made the call on that fateful Monday in December. He had spent the last five years of his life working on The Music Man, throwing his whole Mason City, Iowa-born heart and soul into it. Five years. And it was beginning to look as if Harold Hill was never going to get a chance to strut his stuff on a Broadway stage. The show was too different, too midwestern, he’d been told. A love letter to small-town Iowa might warm the hearts of Willson’s fellow Hawkeyes, but it was just not the kind of thing to set New York producers’ hearts racing.

 

 

              The irony here is that it was a pair of New York producers that got The Music Man going in the first place. In 1951, the producing team of Cy Feuer and Ernest Martin, fresh from their successful Guys and Dolls, approached Willson with the idea of his writing a show for them.

 

 

              Willson had not yet written a musical, but was certainly a show business jack-of-all-trades. He got his professional start in the 1920s as a flute player, after studies at New York’s Institute of Musical Art (later rechristened the Juilliard School of Music). He spent these early years in rarefied company, playing first in John Philip Sousa’s band, and soon after in the New York Philharmonic under Arturo Toscanini. California beckoned in the 1930s; there Willson found work in radio and the movies, as a musical director, bandleader, and composer (he received Academy Award nominations for two of his film scores, 1940’s The Great Dictator, and 1941’s The Little Foxes).

 

 

              He began to become something of a celebrity, as his bandleader chores led to regular appearances on The Burns and Allen Show and the Tallulah Bankhead-hosted variety extravaganza The Big Show. Willson penned the latter program’s theme song, “May the Good Lord Bless and Keep You.” The number proved to be popular, and 1951 saw an even bigger Meredith Willson song hit, the holiday perennial “It’s Beginning to Look a Lot Like Christmas.” Adding to his reputation as an all-rounder was the publication of his book, And There I Stood with My Piccolo, a charming memoir of his early days.

Iowa stubborn weakens

              Which brings us back to Feuer and Martin. Looking over the breadth of Willson’s career, they thought he’d be a natural writing a musical; specifically, they requested a show about his Iowa boyhood. At first, he later wrote, he “resisted the whole whole idea in the typical posture of irrefragability that is the normal Iowa response to any suggestion of any nature whatsoever.” (I had to look up “irrefragability.” Webster says “impossible to refute, break or alter.”) 

 

              But Iowa stubbornness eventually gave way, and Willson set to work. 

He described the process: “ACT ONE, SCENE ONE. So far so good. 

The fifth word was the sticker, though. Couldn’t locate that fifth word. So I just sat there. Quite some time went by. Three years in fact.”  It took some time, but he eventually found that fifth word, and soon began to conjure up a tale of a boy’s band and a phony bandleader by the name of Harold Hill. In its first draft, the show was called The Silver Triangle; the producers felt the title had to go (Feuer said it sounded like something by Ibsen), and suggested a new one: The Music Man.

 

              Time passed, and many, many drafts of The Music Man followed. Willson couldn’t quite satisfy Feuer and Martin with a revision that they deemed ready for Broadway. They were unconvinced that the rhythmic-speaking musical numbers  that Willson envisioned as key to The Music Man’s style would really work; Martin worried the whole thing might end up sounding like The Song of Hiawatha. But Willson was convinced he was on the right track. So even after the following short notice appeared in The New York Times, “Feuer and Martin have tabled The Music Man in order to concentrate on other plans,” he was in no way ready to throw in the towel. His belief in The Music Man was...well, irrefragable. 

 

              But it appeared the smart money was betting against The Music Man. Even so, Willson knew this kind of conventional wisdom was proven wrong all the time—and as he worked on draft number 32, he thought of one of Broadway’s newest hits, The Most Happy Fella. Who would have thought the quasi-operatic story of an elderly Italian immigrant and his pregnant fiancée would be such a success, even with Frank Loesser on board?

 

Cajoling a high-drama producer

 

              The Most Happy Fella had been produced by Kermit Bloomgarten, whose track record on Broadway ran to high-prestige dramas such as The Crucible, A View From the Bridge and The Diary of Anne Frank. It had been the first musical in his three-decade career. Willson wondered aloud if he’d be interested in producing The Music Man. The ever-practical Mrs. Willson said call him and ask him.

 

              Taking Rini’s advice then and there, Willson got on the phone, and before too long had tracked down Bloomgarden in a theater in New York City. “We Hawkeyes yield to no one when it comes to being long-winded,” recalled Willson. “I unreeled the whole story to Mr. Bloomgarden…and after quite a while when I stopped for a breath Mr. Bloomgarden said ‘Pardon me, have we ever met?’” 

 

              They hadn’t. Even so, the producer was intrigued enough to ask Willson to send him the book. Willson was reluctant to do so, knowing that much of the unconventional material in the show—such as the opening number, a tour-de-force of rhythmic speech, without a hint of a melody in earshot—would make very little impression on the page. Better that he and Rini perform it in person. Bloomgarden was game, and he’d be happy to see them any night that week.

 

              The date was made. Thirty-six hours and one cross-country flight later, the Willsons found themselves at 200 West 58th Street, in the apartment of Herb Greene, conductor of The Most Happy Fella. They didn’t get started until after midnight; Greene had conducted a performance that night, and Bloomgarden wanted his music man to hear Willson’s, and so it wasn’t until half-past four in the morning that the curtain came down on The Music Man. The next morning, Kermit Bloomgarden invited the Willsons to his office, where he asked, “Meredith, may I have the privilege of producing your beautiful play?” The rest is history. 

                     

Alicia Berneche (Marian Paroo),        Larry Adams (Harold Hill)

   and Alicia Berneche (Marian           attempts to sweet talk

  Paroo) star in The Music Man.      Alicia Berneche (Marian Paroo)                       

 

For Immediate Release:                    Contact: Rachel Greenhoe

November 11, 2008                          (847) 869-7930 ext. 15

                         

Light Opera Works Presents THE MUSIC MAN

December 26, 2008 – January 4, 2009

 

Who:        Light Opera Works

 

What:    THE MUSIC MAN

Book, Music and Lyrics by Meredith Willson

Story by Meredith Willson and Franklin Lacey

 

Run: *Press Opening: Friday, December 26, 2pm (Family Matinee)

         *Saturday, December 27, 2pm (Family Matinee)

         Saturday, December 27, 8pm

         Sunday, December 28, 2pm

         *Tuesday, December 30, 2pm (Family Matinee)

         Wednesday, December 31, 8pm (New Year’s Eve)

         Friday, January 2, 2009, 8pm

         Saturday, January 3, 2009, 8pm

         Sunday, January 4, 2009, 2pm

 

Where:     Cahn Auditorium

600 Emerson Street

Evanston, IL

 

Tickets:   Main Floor- $85, $65 and $45

                 Balcony- $65, $45 and $29

                 NEW YEAR’S EVE (8pm)- $87, $67 and $47

*Children ages 21 and younger are half price at Family Matinee performances.

 

Box Office: The Light Opera Works Box Office is located at 927 Noyes St. in Evanston.

To purchase tickets call (847) 869-6300 or order online at LightOperaWorks.com.

 

Evanston, IL: In THE MUSIC MAN, con man "Professor" Harold Hill plans to swindle the citizens of a small Midwestern town by convincing them he can equip and train a boys marching band.  What Professor Hill does not count on is falling in love with the town librarian.

 

THE MUSIC MAN will be directed by Light Opera Works artistic director, Rudy Hogenmiller.  Hogenmiller has directed and choreographed many productions for the company including KISS ME, KATE, SOUTH PACIFIC, THE MIKADO, THE MERRY WIDOW and THE SOUND OF MUSIC. He has been recognized with six Joseph Jefferson Awards and 17 nominations for best direction and choreography in Chicago. Hogenmiller has been a member of the Society of Stage Directors and Choreographers for more than 25 years.

 

THE MUSIC MAN will be choreographed by Kevin Bellie.  Bellie is the artistic director of Circle Theatre, where his direction and choreography credits include non-equity Jeff award nominated productions of CAN-CAN, SEVEN BRIDES FOR SEVEN BROTHERS, MACK & MABEL, SWEET SMELL OF SUCCESS, THE MYSTERY OF EDWIN DROOD, HELLO AGAIN, NINE, TRIUMPH OF LOVE and non-equity Jeff Award winners THE LIFE and GRAND HOTEL.  Also at Circle Theatre, he choreographed MEET ME IN ST. LOUIS (Jeff nominated), SHE LOVES ME, and THE SECRET GARDEN (Jeff Award). In addition to his work at Circle Theatre, Kevin has directed/choreographed ROASTING CHESTNUTS and DROOD (both at Noble Fool), choreographed THE PRODUCERS (McLeod Summer Playhouse), ANYONE CAN WHISTLE (Pegasus Players), A NEW BRAIN (Porchlight, Jeff Nominated), CLOSER THAN EVER, GYPSY (Porchlight, Jeff Recommended and After Dark Award), and BEING 11 (Serendipity).

 

 

Light Opera Works music director Roger L. Bingaman will conduct the 28-piece orchestra.  Bingaman made his first appearance on the Light Opera Works podium in 1997, conducting THE MERRY WIDOW.  Since then he has conducted many Light Opera Works productions, including, BEAUTIFUL HELEN OF TROY, THE STUDENT PRINCE, SWEETHEARTS, NO WAY TO TREAT A LADY, SOUTH PACIFIC, 110 IN THE SHADE, KISS ME, KATE, BITTER SWEET, OKLAHOMA!, GIGI and IOLANTHE.  Bingaman has been director of the apprentice program and chorus master for the Sarasota Opera since 1998. 

 

 

Casting for THE MUSIC MAN includes Larry Adams, Alicia Berneche, Peter Verdico, Jo Ann Minds, Joe Tokarz and Barbara Clear. 

 

Larry Adams (Harold Hill) has appeared in Light Opera Works productions of SOUTH PACIFIC, 110 IN THE SHADE, THE MERRY WIDOW, THE SOUND OF MUSIC, and KISS ME, KATE. Larry has performed with various companies in the Chicago area including; Theatre at the Center, Chicago Shakespeare Theater and Drury Lane Theatre Oakbrook. He has toured nationally with Andrew Lloyd Webber's THE PHANTOM OF THE OPERA, and was a part of the Broadway and San Francisco companies.  Mr. Adams has performed a wide range of musical styles from opera to minimalism to cabaret, appearing at such venues as, Lincoln Center and La Mama in New York City to Opera companies and theatres around the country.

 

Alicia Berneche (Marian Paroo) appeared last summer at Light Opera Works as Phyllis in IOLANTHE, and previously as Sari Linden in BITTER SWEET and Resi in THE GREAT WALTZ.  Ms. Berneche has performed extensively in the United States, appearing at Lyric Opera of Chicago as Daisy Buchanan in THE GREAT GATSBY, Goodman Theatre, The Barbican, and BAM in the world premiere of Philip Glass' GALILEO GALILEI, and was on the roster of the Metropolitan Opera. During this past season she performed DIE FLEDERMAUS with the Austin Lyric Opera and Orlando Opera, THE PIRATES OF PENZANCE with Virginia Opera, returned as Despina in COSI FAN TUTTE at Sarasota Opera, and performed her first Mimi in LA BOHEME at Skylight Opera Theatre. 

 

Peter Verdico (Mayor Shinn) has appeared in Light Opera Works’ productions of CARNIVAL, SOUTH PACIFIC, KISS ME, KATE and GIGI. He recently appeared in Big Noise Theatre’s production of URINETOWN as Caldwell B. Cladwell and Stage Right’s production of MY FAIR LADY as Alfred Doolitle.  Recent credits include BAREFOOT IN THE PARK with Metropolis Theater, LA CAGE AUX FOLLES with Night Blue Theatre, and GYPSY with Stage Right Productions. Peter has appeared in many musicals, comedies and plays. Some of his favorite roles include Tevye in FIDDLER ON THE ROOF, Julian Marsh in 42ND STREET, Carroll Todd in VICTOR/VICTORIA, Tito Merelli in LEND ME A TENOR, George Hay in MOON OVER BUFFALO, Juror #3 in TWELVE ANGRY MEN and Harry Brock in BORN YESTERDAY.

 

Jo Ann Minds (Eulalie Shinn) has performed with Light Opera Works, most recently as the narrator in SIDE BY SIDE BY SONDHEIM and Aunt Alicia in GIGI and as Lady Devon in BITTER SWEET, along with Madame Armfeldt (A LITTLE NIGHT MUSIC), Duchess of Plaza- Toro (THE GONDOLIERS), Maggie Grant (LADY IN THE DARK) and Maria (THE MOST HAPPY FELLA) among others. Well-known in the Chicago area for roles in opera, operetta and musical theater, she has been the guest soloist with the Evanston, Niles, DuPage and Harper Symphony Orchestras and appeared on stage in leads with Apple Tree Theater, Opera Factory, Chamber Opera Chicago, Cameo Opera, Palmero Opera and North Shore Theater. She has a Gilbert & Sullivan repertoire that includes all 13 principal alto roles which she has performed in 31 productions with the Savoy-Aires and Gilbert and Sullivan Society and has extensively toured Chicago and Indiana area theaters and schools with Papai Players Children‘s Theater. She recently appeared in the world premiere of THE PATRIOTS by Ronald Combs at Northeastern University, creating the major mezzo role of Hannah.

 

Joe Tokarz (Marcellus Washburn) is making his Light Opera Works debut.  Recent credits include CANDIDE (Porchlight Music Theatre), UNLOCK’D (Ravinia Festival), PHANTOM (Theatre at the Center), THE BOYS ARE COMING HOME (Goodman Theatre Workshop), THE WIZARD OF OZ (Drury Lane Oakbrook), JERRY SPRINGER: THE OPERA, THE HUNCHBACK OF NOTRE DAME (Bailiwick Repertory), LES MISERABLES, THE PRINCESS & THE PEA, and DISNEY’S ALADDIN (Marriott Theatre).  This February, Mr. Tokarz will return to the Marriott for their production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT.   Mr. Tokarz has the honor of being the only actor in Chicago to appear in three of the 2007-08 Jeff Award winning Best Musicals:  Non-Equity (JERRY SPRINGER: THE OPERA), Equity Midsize (THE HUNCHBACK OF NOTRE DAME), and Equity Large (LES MISERABLES).  An accomplished soloist, Mr. Tokarz can be found singing regularly at his parish, Old St. Patrick’s in the West Loop, and has sung at the Galway Arts Festival, Edinburgh Fringe Festival, and for the Chicago White Sox.

 

Barbara Clear (Mrs. Paroo) made her Light Opera Works debut as Mamita in GIGI. She has appeared at Apple Tree Theatre as Marina in UNCLE VANYA and as Mrs. Curtin in A MAN OF NO IMPORTANCE.  Barbara has worked at the Guthrie Theatre, Playwrights Center in Minneapolis and Pennsylvania Centre Stage, among others.  Favorite roles include Molly in THE FRONT PAGE, Joan in SAINT JOAN and Joan in DAMES AT SEA. 

 

The design team for THE MUSIC MAN includes Richard and Jacqueline Penrod USA (scenic), Soule Golden (costumes), Marvin Riebe (hair and make-up), Denise Karczewski (lighting), Miles Polaski (sound), Anya Plotkin (stage manager) and Paige Keedy (production manager). 

 

Ticket prices for THE MUSIC MAN range from $29 to $85 (New Year’s Eve from $47 to $87).  Ages 21 and younger are half price at Family Matinees.  To order tickets, or for more information, call the Light Opera Works Box Office at (847) 869-6300 or order 24 hours a day online at www.lightoperaworks.com 

 

Light Opera Works is a resident professional not-for-profit theater in Evanston, founded in 1980.  The company's mission is to produce and present musical theater from a variety of world traditions.  All productions are presented in English, with foreign works done in carefully edited modern translations.  Maximum scholarship is employed to preserve the original vocal and orchestral material as well as the spirit of the original text whenever possible.  Audiences have come to know that at Light Opera Works they will experience repertoire often unavailable on the stages of commercial theaters and opera houses, in modern productions with professional artists and full orchestra.

 

 

 

Light Opera Works’ mission is to produce musical theater from a variety of world traditions, to engage the community through

educational and outreach programs and to train artists in musical theater.

Not available at this time.