Review: The New Tampa Players' Production of Meredith Willson's THE MUSIC MAN

The Music Man  is one of those rare musicals that’s quite old fashioned and wears its stodgy heart on its sleeve like a badge of honor, but that also can crackle with entertainment and even innovation.  Not all of Meredith Willson’s musicals work for me (especially that yawn-fest called The Unsinkable Molly Brown), but The Music Man doesn’t have a bad thought in its outmoded head.  It was charmingly hokey and old fashioned upon its release, and it has the honor (or dishonor as some will claim) of skunking West Side Story in the major categories at the 12th Annual Tony Awards. 

And yet it’s a musical with brilliantly written songs and a clever book by Mr. Willson, one that helped elevate the art form.  It boasts inventive counterpoint numbers like “Lida Rose & Will I Ever Tell You” and “”Pick-a-Little, Talk-a-Little & Goodnight, Ladies” that are just astounding when done right.  And in its most eyebrow-raising claim, with the opening patter song (“Rock Island”), The Music Man contains what many believe are the first hints of what would later become hip hop.  Don’t worry; I don’t think a rapper like Sexxy Red will be sampling “Rock Island” anytime soon. 

With our country locked in crazy mode, I believe that we need the sanity and feel-good vibes from Meredith Willson’s look back at life in River City, Iowa, over a hundred years ago. 

The Music Man is a tonic of sorts for those of us who want to escape the exhausting news of 2025 as well as the summertime heat and the incessant scrolling of social media on our phones.  It’s not a fast show, although there are moments that pulsate with lots of verve (I’m looking at you, “Shipoopi”), but it may be a necessary one in our troubled world.

Set in River City, Iowa, in 1912, The Music Man centers on that charismatic rascal, the fast-talking con man Professor Harold Hill, sort of a small-time PT Barnum, who believes there’s a sucker born every minute. He pretends to be a band leader and sells band uniforms and instruments to the down-home folk in River City; little do they know but he plans to flee town with all the money and without teaching a single music lesson.  Enter Marian the Librarian, a strong, uptight and  unmarried woman who sees through Harold’s scheme. Will Harold’s plan ultimately work, or will love bring him and Marian together and end Harold’s con game once and for all?

The current production of The Music Man at the New Tampa Players, performed at the New Tampa Performing Arts Center,  is a feast for the eyes and ears.  It has so many positives going for it that none of its shortcomings derail it in the least.  It’s like a pleasant stroll into yesteryear, a sheer delight guided by a strong and talented director, Angel Borths, who obviously knows what she’s doing.

David Groomes gets the job done as one of musical theatre’s most iconic roles, Harold Hill (#7 on my list of the 101 Greatest Musical Theatre Characters featured in an article for BWW several years ago).  This is a role of a lifetime, sort of a Johnny Appleseed selling hopes and dreams to a dead-end town, and Mr. Groomes sings and acts it well. He has the smooth patter, that salesman-slick vibe.  What I miss is the electricity that sets him apart from the more mundane Midwest townspeople, that next-level verve that jolts the sleepy town (and the show itself) into adrenaline-fueled excitement. . 

As Marian Paroo, Melanie Bierweiler once again showcases why she is one of our area’s finest (who could forget her more than memorable stint in Singin’ in the Rain last year?) Looking not unlike Sarah Jessica Parker here, her Marian is both priggish and feisty, guarded and full of heart. But I never saw that clear a-ha instance when she goes from snubbing Harold to actually falling head over heels for him (her eureka moment may have happened during the “Wells Fargo Wagon” number that closes Act 1, a song so busy that we may not have noticed, or it might have occurred during Intermission for all we know). But she positively owns the stage and possesses a wondrous singing voice, as spotlighted in such songs as “My White Knight” and “Till There Was You,” the latter a lovely duet with Harold.

Neil Bleiweiss has his moments as Mayor Shinn, and I liked the way he mispronounces “Pompeii” in his droning speech to the River City denizens, but he sometimes comes across way too over the top for my tastes.  As his wife, Eulalie Shinn, Becky Groomes is a scene-stealing hoot.  Gabriel Marin White seemed a bit young to play Harold’s old pal, Marcellus, but his “Shipoopi” is one of the night’s best numbers.  (It’s ironic, because it is far from my favorite song in the show, mainly because the title sounds like an excrement-tinged cuss word and it seems so random to the story; it’s like Meredith Willson said, “Hey, let’s throw in a big number near the start of Act 2 for no other reason than to have a big number near the start of Act 2!”  That said, it was the most rousing song of the night, featuring a wonderful and energetic ensemble, and it certainly was the audience’s favorite.)

Chloe Tort brings out a Lisa Loopner nerdy spirit with her Zaneeta Shinn, and her trying various means of stealth escape from her father’s clutches was very funny.  Jaden Figueroa does quite well as her energetic secret beau, Tommy.  Debbie Scourtes is spot-on in the mimportant part of Ms. Paroo.  And it’s always a joy having Stephon Mikell in a show.

The adult ensemble members provide wonderful harmonies throughout the evening, including Lena Wigfall, Suzann Humara, Christy Adams, Chelsie Keith, Andrew Blizzard, Mary Davis, Linda Johnston, Amanda LeFloch, Melissa Mastromarchi, Kelly Nowicki, Brigette Anderson, Colleen Champers, Elizabeth Ferriera, Sydney Hilton, Amanda Schapiro and Michael Neary. 

The children in the cast are amazing.  As Amaryllis, young Nora Duffy is a true standout.  She’s fabulous in the ensemble numbers, always being in character, always reacting to the events around her.  She’s prodigious in her talent and a natural on the stage.   Luke Adams is also quite good as the lisping Winthrop and he has a marvelous singing voice (as heard in “Wells Fargo Wagon” and “Gary, Indiana”). 

The youthful cast members prove that the future is quite bright in our world of musical theatre.  They include such luminaries as the talented Lilly Smith, Naomi Berger, Timothy Berkowitz, Jazelle Ferrer, Rex Knuckles, Antoinette Russo, Angela Sheridan and Elliott LeFloch.  And six-year-old Mars Wolfe Bonassar steals our hearts as the tiniest tot on the stage with a Goliath-sized heart. 

Best of all in the entire show is the vocal quartet consisting of Chase Reeder, Michael Bonassar, Donal Duffy and James Cass.  Part Barbershop Quartet, part Greek Chorus, they wander throughout the show, singing in perfect harmony, turning their literal walk-ons into award-worthy highlights.  Their vocals blend exceedingly well, and Mr. Bonassar in particular is outrageously good.  Watching them made me wish I had my own vocal quartet following me around wherever I went.   

The show seemed long at times, running two and a half hours.  There were moments when there were extra-long pauses from some cast members, making this seem like Harold Pinter’s The Music Man.  The pace needs to pick up, especially as we head to the climax. 

New Tampa Players do things right, and one of the best things they accomplish is actually having a powerful, live orchestra, conducted by music director G. Frank Meekins (who is also on piano).  They sound roaringly good, with Joseph Rose on flute/piccolo; Diana Belcher on clarinet/sax; Brian Mason and Eric Tighe on trombone; Matthew Hill, Bill Genovese and Joe Marrone on trumpet; Maribeth Radtke and Charlotte Lewis on violin; Paul Lewis on cello; Joseph Callaway on bass; Alex Markoulis on keyboard; and Rick Barclay on percussion (I wonder if Mr. Barclay is responsible for the hilarious anvil sound effect in Act 2). 

Tatiana Eriksen’s choreography is lively, with the aforementioned “Shipoopi” a standout.  Nora Paine’s set design is a dream, with colorful set pieces flying in and out; I especially like the oversized rotating gears of a train in the opening number.  The costumes (by Shelley Giles, Heather Cleveland, Tracy Stemm and Dave Giles) are sensational and fit the time period (love the evolution of the quartet into full red and white barbershop attire in Act 2).  James Cass’ props work, especially the newspapers for the train-riders and the large book on the piano bench where Amaryllis plays.

All of this led by the indomitable director, Angel Borths. She has guided a large cast with so much heart and with so much joy.  And that’s what we need right now in our lives: heart and joy.  So take a trip back in time with NTP’s The Music Man, a happy pause in the madness of our modern world.  Watching it is like taking a long cool drink of water on a hot summer day. 

NTP’S THE MUSIC MAN plays at the New Tampa Performing Arts Center until August 3.  Photo Credit: Picture This Photography of Palma Ceia