Review: THE MUSIC MAN at Theatre Memphis

The American Broadway musical has seen quite the evolution since the 1927 introduction of SHOWBOAT, widely considered the blueprint for using song and dance to advance a story’s plot. Over the years, audiences and technology have grown so sophisticated that 2025’s Tony Award winner for Best Musical about two robots falling in love (MAYBE HAPPY ENDING) no longer seems far‑fetched. Recent Best Musical Tony-award winners have included rapping multi‑cultural forefathers (HAMILTON), trips through hell (HADESTOWN), and profane puppets (AVENUE Q) just trying to find happiness. But this year’s winner, SCHMIGADOON!, captures (and lampoons) the longing many people still have for the simple, wholesome American stories of the 1950s.

Opening Theatre Memphis’ 106th season is one of those old‑fashioned stories about small‑town America where people stick together, values are conservative, and needs are few. For younger audiences with shorter attention spans, Meredith Willson’s THE MUSIC MAN may feel a bit tedious as standard ballads like “Goodnight, My Someone,” “My White Knight,” and “Till There Was You” wash over them, but this overly ambitious community theatre production represents the show the way it’s meant to be done.

Most people know the story of Harold Hill, a “traveling” salesman/con artist who devises a scheme to swindle innocent people out of their money and skip town before they’re any the wiser. Here, he convinces the citizens of River City, Iowa that they need to start a band to combat the “evils” of a new pool table. They’ll need instruments and uniforms, and he — of course — will lead them. As a textbook grifter, he stokes fears, turns people against one another, and masters the art of distraction. Despite the dark‑sounding premise, the show remains light‑hearted and wholesome.

Directed and choreographed by Travis Bradley and Jordan Nichols, all the elements of a high‑quality production are present — the exquisite set, the talented cast, and an immaculate orchestra. It’s all there, and yet something’s missing. Bradley and Nichols have been doing large‑scale productions long enough to know how to make them great. Their artistic vision has always leaned toward setting a high standard and expecting the cast and crew to meet it. And it almost always works. However, they also have a habit of not always meeting the cast where their talents lie, asking more than is realistic and exposing understandable limitations. These performers are almost exclusively community members with full‑time jobs and limited rehearsal hours. Extended, intricate choreography — the kind even veteran Broadway hoofers would struggle to repeat nightly — often feels mismatched to the cast’s abilities. Synchronization is a staple of their dances, and without impeccable timing from every member, things get messy and the impact is lost. Sometimes, less truly is more.

In terms of casting, one would be hard‑pressed to find a finer actor or singer in Memphis than Stephen Garrett. In WAITRESS at Playhouse on the Square, he was perfection as a fumbling, awkward OBGYN. Garrett’s natural gift is that he makes his talent look effortless. His understated, cinematic style, however, doesn’t fully suit Professor Harold Hill — a man who must overwhelm an entire town with larger‑than‑life charisma. At first, his subdued characterization seems like it might work for a man quietly sneaking into town to plan his next heist, but as the stakes rise, it becomes clear that this role demands a different kind of presence. It’s a heavy lift for his more naturalistic approach.

As his leading lady once again (just like in Waitress), Lynden Lewis plays small‑town librarian Marian Paroo, who may be sadder but wiser about Hill’s intentions and still sees silver linings others cannot. Lewis can certainly sing the vocally challenging role, but Marian is written to be understated — a counterbalance to Hill’s boisterous persona. Garrett’s quieter portrayal doesn’t give her much to push against, leaving both characters somewhat diminished.

Jonathan Christian plays Hill’s longtime partner‑in‑crime, Marcellus Washburn, eager to join him in his next hijinks. But Christian misses nearly all of his scene‑stealing opportunities, leaving the show’s biggest laughs on the table. His rendition of “Shipoopi,” one of the biggest numbers in the musical, lands as a bored obligation rather than a showstopper.

Camden Douglas is a standout as Hill skeptic Charlie Cowell, bringing the energy and enthusiasm many others seemed to miss.

Ashley Whitten Kopera delivers the perfect motherly touch as Mrs. Paroo. She embodies the ideal Iowa‑proud mother with ease — she was born to play this part.

Young Ethan Taylor does a fine job as Winthrop Paroo, the nervous, shy boy with a lisp. His rendition of “Gary, Indiana” is impressive. This kid isn’t scared of any high note.

Worth the price of admission alone is the immaculate Times Quartet — Shawn King, Willie Mays, Robert Strong, and Craig Brown. Their harmonies on “It’s You” and “Lida Rose” are blended better than you can imagine. They showcase Memphis talent that deserves far more recognition. If you’ve never been a fan of four‑part harmony, you will be when they’re done.

Jeffery Brewer remains unbelievably consistent in leading the best musicians on any Memphis stage. His 15‑piece orchestra will literally and figuratively blow you away. The brass in “Seventy‑Six Trombones” and the strings in “Till There Was You” harken back to a time when canned music was pure blasphemy.

Emily Luce’s sound design provides crisp, clear understanding of every actor, every time. Rence Phillips and Ellen Ring deliver some of the best wig designs seen on a Theatre Memphis stage in years. And, as usual, Jack Netzel‑Yates’ scenic design will leave you speechless. He instantly sets the locale and mood of every show he touches and somehow continues finding new and interesting ways to do it. His library set must be seen to be believed — the sheer number of replicated books is jaw‑dropping. I think I stopped counting at 1,000. Masterful.

THE MUSIC MAN is a pleasant walk down memory lane for old‑school musical theatre lovers and a history lesson for younger audiences on the art form’s beginnings. This traditional musical even beat out the more “edgy” WEST SIDE STORY for Best Musical in 1958. But everything evolves. This production stays committed to the look and feel of a time gone by. Like the community that comes together in the story for something greater, this cast and crew do the same with impressive results. Theatre Memphis has set the bar extremely high in recent years, and this team aims high. If they don’t quite hit the goal, it’s not for lack of will or hard work.

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