NYC Theater Trip 2022: "The Music Man" at the Winter Garden Theatre

Show*: 5

Title: The Music Man

Location: Winter Garden Theatre

Written By: Richard Greenberg

Summary: A big, beautiful, colorful, life-affirming, revitalizing, traditional (with a few tweaks) revival of the 1957 classic, only the second Broadway revival.

Highlights: I unabashedly love The Music Man, the story of a con man who "gets his foot caught in the door" on his way out of town, because someone saw through his slick veneer to his true self, and loved him anyway. He's not selling a band, he's selling hope, a common goal, community, and something to believe in. Marian is a woman with standards, and finally meets an intelligent man who meets them, and brings life back to her family and town. This production is a joyous celebration of all of that. And maybe it is corny and old-fashioned, but that's OK with me. This lovely, talented, diverse, and huge cast is such fun to watch, especially the young ones who are unbelievably confident and capable amongst the pros. Hugh Jackman is an absolute charmer, a spellbinder who has everyone in River City and the theater believing his every word, a twinkle in his eye that can be seen from the last row of the theater (or at least the 2nd to last where I was sitting). He has a great match in two-time Tony winner Sutton Foster, whose Marion doesn't suffer fools. She's tough and smart, and watching these two warm to each other and their easy natural chemistry is a joy. Meredith Wilson's beloved classic score sounds simply scrumptious as played by the 20+ piece orchestra tucked under the stage; I stayed to hear every last note. There are a couple of rewritten lyrics, most notably in "Shipoopi" to make it a little more palatable in the #metoo era, and a new (or old) intro to "My White Knight." The choreography (by Warren Carlye) is divine. "76 Trombones" is the highlight, absolutely stunning as each group of (mimed) instruments comes forward and takes turns, the groups of dancers weaving together and creating a beautiful symphony. The library scene is also a delight, as is the final tap number. As expected, costumes are luscious, overflowing with bustles and hats and flounces, and sets are genius, with a "curtain" made up of the red planks of a barn. It opens in various ways and rises into the ceiling, revealing two-dimensional backdrops and set pieces in the Grant Wood style (set and costumes designed by Santo Loquasto). This was my final show of the trip, and it left me on a high, marveling at the wonder and magic of theater. Everything about it is so wonderful, a balm to a world-weary soul. I had tears in my eyes throughout the show, at the beauty of the story and the storytelling, and remembering how long we had to live without it. Only one of the five shows I saw didn't have an understudy in a lead or featured role, but we're finding a way for the show to go on safely. Broadway is unquestionably back, and The Music Man represents that traditional musical that we love so much.

*Once again, I'm using an abbreviated Fringe-style summary for my NYC 2022 trip, since I am in the greatest city in the world with much more exciting things to do than write! Click here to see all of my Broadway-related blog posts.

"Violet" by the Roundabout Theatre Company at American Airlines Theatre on Broadway

I fell in love with the musical Violet four years ago after seeing Theater Latte Da's beautiful production in the Guthrie Studio. Produced on a sparse stage with a small cast and three-piece band, I found it to be so beautiful, raw, poignant, and relatable, that I went back and saw it again. It's one of my most listened to soundtracks, and is definitely in my list of top ten, maybe even top five, musicals (a list which I have yet to officially compile). So I was beyond thrilled to year that Violet would be having its Broadway premiere (after premiering Off-Broadway in 1997) during my annual trip to NYC, with an official opening on April 20. Since apparently the world, or at least the tourists cramming into Times Square,  has yet to discover the wonder that is Violet, it was easy to get good seats at TKTS for the Saturday matinee. Despite the differences from the last production I saw - more elaborate set, larger band and cast, and a new song, it's still that same beautiful piece of original music-theater that so moves me.

Based on a short story, Violet is about a young woman on a journey across the South in 1964, from her home in the mountains of North Carolina to Tulsa, Oklahoma, where she hopes that a TV preacher can heal the scar she received in a childhood accident. Growing up with this disfiguring facial scar has made Violet tough and independent, and she's not afraid to look people in the eye and tell them what she thinks, even if they're unable to return her gaze. She befriends several people on the long bus trip, including a couple of soldiers named Monty and Flick. While journeying to what she hopes is a new beginning, she remembers her past journeys, and we see flashbacks of the young Violet. The two realities merge when Violet meets the preacher, doesn't find what she hoped she would, and is forced to face her past on her own. Like Dorothy in The Wizard of Oz, she has to go an epic journey to learn that she had the power all along to heal herself.

The strong cast is led by Sutton Foster as Violet, with a voice perfectly suited to this bluegrass/country/folk score and the combination of vulnerability and strength that Violet needs. Also strong are Colin Donnell and one of my Broadway faves Joshua Henry (he appeared in Scottsboro Boys at the Guthrie) as her suitors Monty and Flick. Emerson Steele is wonderful as the young Violet, mirroring Sutton's portrayal of the adult Violet but with her own spirit. Standouts in the ensemble include Ben Davis as the preacher and several other characters, and Broadway vet Annie Golden, stealing scenes as an old lady on the bus and a hotel hooker.

The score, written by Jeanine Tesori with lyrics by Brian Crawley, is a combination of Appalachian mountain music, country, folk, Memphis, and gospel, played by the onstage band that includes fiddle, banjo, and steel guitar. Which happens to be my favorite kind of music - another reason I love this piece. The songlist is exactly the same as the Off-Broadway version, with one exception: Monty's song "You're Different," in which Monty explains what he likes about Violet - that she's different from other girls, has been replaced with a new song called "Last Time I Came to Memphis," which is basically an ode to one-night stands. I neither understand nor approve of this choice, but fortunately all of my other favorites are still there - the country ballad "Who'll Be the One," the fun poker song "Luck of the Draw," the lovely "Lay Down Your Head," Flick's anthem "Let It Sing," and the most poignant moment in the show, adult Violet's confrontation with her father, "That's What I Could Do."

What I love most about Violet is that it's such a universal story. Everyone has a scar or a wound from their past that they need to heal. A repeated theme in the music is "look at me," which is what Violet most wants (and what everyone wants) - someone to look at her, see the real her, and love her for it. This is such a rich piece, dealing with issues of race, gender, celebrity worship, focus on appearance, forgiveness, family. It's so wonderful to see an original musical on Broadway (this is a great season for original musicals after a bit of a dearth), I hope it's successful and I know it will receive many Tony nominations this spring.