Review: MEREDITH WILLSON'S THE MUSIC MAN at Reynolds Performance Hall in Conway

Article Co-written by Charles Loveless

Meredith Willson’s beloved classic The Music Man marched into Reynolds Performance Hall on Sunday, March 15, bringing with it a parade of brass and the wholesome small-town spirit that audiences have treasured for generations. From the very first notes, the production swept patrons straight into River City, Iowa, and though Julius Caesar may have needed to beware the Ides of March, theatergoers on this particular evening had nothing to fear, except perhaps leaving the hall humming “Seventy-Six Trombones,” tapping their toes to “Ya Got Trouble,” or replaying Marian’s soaring melodies long after the curtain call. It was the kind of feel-good theatrical experience that proved that Meredith Willson’s timeless score and lovable characters still have the power to transform an ordinary Sunday into something wonderfully nostalgic and joyfully memorable.

Set in 1912, the story follows fast-talking traveling salesman Harold Hill, who arrives in the small town, intent on swindling the residents by selling them band instruments and uniforms for a boys’ band he has no intention of forming. His scheme hits a snag when he encounters Marian Paroo, the town’s skeptical librarian and piano teacher, whose intelligence and moral compass threaten to expose him. As Hill spends more time in River City, he unexpectedly begins to care for the community and especially for Marian and her shy younger brother Winthrop. Ultimately, the con man must decide whether to flee with the money or stay and face the consequences, discovering that the power of music (and love) can transform even the most unlikely hearts. This production, under the direction of Matt Lenz, with spirited choreography by Joshua Bergasse and musical leadership from Music Director Thomas Fosnocht, honored the show’s nostalgic roots while keeping the storytelling fresh and engaging for modern audiences.

The performance did encounter a few early hurdles, beginning about fifteen minutes behind schedule and later pausing mid-show when technical difficulties during one number required the stage to be cleared for a brief five-minute delay. Yet, true to the resilient, can-do spirit of River City itself, the production recovered smoothly and proceeded without further interruption, allowing the cast to settle into a confident rhythm. Once back on track, the show delivered the warmth and toe-tapping nostalgia that make The Music Man such an enduring crowd-pleaser, proving that sometimes a slightly bumpy start only makes the triumphant continuation feel all the more satisfying.

Elliott Andrews took on the iconic role of Professor Harold Hill, delighting the audience with a charismatic performance that captured both the character’s slick showmanship and his underlying charm. His rich bass voice and crisp diction ensured that every clever lyric and rapid-fire line landed clearly, even for patrons seated high in the balcony. Though he appeared somewhat younger than the traditional image of the seasoned con man, Andrews more than compensated with confidence and an easy rapport with the audience, ultimately winning them over as completely as Hill wins over River City.

Opposite of Andrews, Elizabeth D’Aiuto portrayed Marian Paroo, the town’s principled librarian, with poise and vocal brilliance. D’Aiuto displayed an impressive range, floating her high soprano notes with a purity and control that, at times, evoked the elegance of operatic singing while still maintaining the warmth and accessibility the role requires.

The scenic design by Santo Loquasto proved inventive rather than lavish, relying on clever staging and fluid transitions to keep the story moving at a brisk pace, while Ken Billington’s lighting design subtly enhanced each location and mood. Scene changes were handled efficiently, often unfolding in front of the curtain with bits of business or action to maintain audience engagement while the next setting was prepared behind it. This approach prevented any loss of momentum and allowed the production’s lively energy to remain intact throughout the evening. Judging by the enthusiastic reactions and the nearly full house, the crowd was thoroughly entertained, perhaps even more so than they might have been had they stayed home to watch the Oscars that night. 

As the season at Reynolds Performance Hall draws to a close, there are still a few exciting opportunities for audiences to experience live performance before the curtain falls for the summer. The final Mainstage offering, Hare and Tortoise, hops onto the stage April 2. While the 10:00 a.m. performance is already sold out, seats remain available for the noon show, making it a perfect outing for families and school groups alike. The season will officially conclude April 11 with a performance by the Grammy Award–winning ensemble So Percussion, promising a dynamic and innovative musical finale. In addition, audiences can look forward to a special bonus event: a free concert by The United States Air Force Band’s Airmen of Note during their national tour. Complimentary tickets for this high-energy  ensemble are available now at https://events.ticketleap.com/.../the-usaf-band-s-airmen, offering one more chance to enjoy world-class entertainment at Reynolds before everyone goes home for the summer.