“Ya got trouble my friends, right here in River City.”
If the above lyric is unfamiliar to you, we simply can’t be friends. Kidding. Not really.
Welcome, cactus friends, to today’s long-delayed post on The Music Man. I’ve been in Colorado for work all week so blogging kinda took a backseat to hiking up mountains and eating Indian food with my CEO. Sorry.
But I’m here now, and that’s what counts!!! And not a moment too soon since Monday is right around the corner again. (How did that happen anyway?)
I’ll be doing my write-up and my boozy pairing all in one post, so please stick around as I delve into Meredith Wilson’s The Music Man.
This musical has a little of everything: romance, shenanigans, a barbershop quartet, and a con man with a heart of gold at its very center.
Written in 1957, this golden age classic never feels outdated or crusty… Which is impressive given that there’s an entire song about the arrival of the Wells Fargo wagon (which is clearly dated).
The thing that keeps The Music Man alive-even in 2018-is its nostalgic Americana. And yet, it is far from being a patriotic romp. More than anything, it leaves audiences yearning for simplicity, small town hominess, and the promise that one stranger can bring an entire town to life. Oh, and that love can turn crooks into band leaders. That’s the American dream, right?
The one and only issue I have with this musical is actually an annoyance that developed after earning my Bachelor of Music. You can’t just “think” the music and suddenly play an instrument. That’s not how it works! Even in the adorable Matthew Broderick version ABC aired in 2003, I just laugh when-in his moment of desperation-he instructs his all-boy marching band to “think.”
But it’s musical theatre, and, of course, “76 Trombones” is the most rousing anthem in the genre, because in America you can do anything.
All that being said, The Music Man is a charming, sweet, and funny musical that I’ve never once tired of. The music bounces between beautiful operatic ballads in “Goodnight My Someone” to the speak-sung patter song that is “Ya Got Trouble.” And everything in between is equally catchy and adorable. From “Pick a Little, Talk a Little” to “Marian the Librarian” and, of course, “Shipoopi,” this musical comes as close to musical perfection as one can get, in my opinion.
I’m so so so excited to see this show in Stratford because it never fails to make me smile. It’s an oldie but a goodie as they say, and I’m sure Stratford’s diverse casting will lend itself to telling a story that has always been meant for everyone-not just crusty white people.
Also, let me just say that one of the few regrets I have when looking back at my musical theatre career is that I never had the opportunity to play Eulalie Mackecknie Shinn. “BALZAC.” ‘Nuff said.
Ok, time to pair this sucker. I don’t think this musical pairs well with liquor at all, but rather, lemonade. Soooo like a vodka-infused strawberry lemonade with basil? Yeah… That works. That’s the one.