One day, I would love to publish reviews of theatre productions-- maybe even make a career out of it! For now, seeing shows and writing critiques is merely a hobby for me. Theatre critics are featured all over social media, and a big hub for them is BroadwayWorld.com. I would love to see a more prevalent community for regional theatre critics. Until now, I have only been comfortable with turning in my reviews for class credit or allowing my friends to read them, but I haven't shared them publicly. I would like to disclose that I am in no way claiming to be a professional or an expert at all-- I'm just writing what I observe and applying previous theatre knowledge to what I see on stage.
What follows is my review of The Music Man at Barter Theatre (America's oldest regional theatre!) from last September. I hope you enjoy!
Barter Theater’s production of Meredith Wilson’s The Music Man was one of the best performances I have ever seen. The technical and performance elements seamlessly worked together and drew the audience in. The set changes did not interrupt the flow of the show, and each of the actors who contributed to moving the sets maintained their characterization. The set was simple, with not too many gimmicks or flashy technical tricks. Throughout the show, the costumes all fit in a pastel color scheme, which was pleasing to the eye as well as effectively portraying that the citizens of Iowa are naive to Harold Hill’s deception. The costume concept and the coordination of colors was fantastic. The simple sets and cohesive costumes let the audience focus on the acting and the message.
The choreography was very difficult, but executed with grace. One number that truly stood out to me was Marian The Librarian. Not only were the levels that the actors were placed Lang 3 dynamic and eye-catching, there was percussive book slamming and page flipping during the dance break. Incorporating props into the choreography is always a great choice to keep things interesting. There was sharp movement and unity in the ensemble. The dancing progressed the plot, a very important element to today’s musical theatre.
The harmonies throughout the show were tight and beautiful. The barber shop quartet was the highlight of the show, interjecting scenes with their beautiful harmonies and charming personalities. Nick Koesters (Harold) seemed to have never-ending energy—after dancing his heart out, he never missed a single note. Williams’ passion and energy were poignant and she brought a refreshing perspective to Marian’s character. As a whole, the ensemble was a united, cohesive group that transported the entire audience into the world of the show.
Barter Theatre’s objective to producing the Music Man was to bring a light of hope into the audience’s lives. It was a musical that was a pure joy to watch, and made you feel so much better when you exited the theatre. In the director’s notes, Richard Rose emphasizes that in today’s society, much like Iowa’s in the show, is in a period of political disruption and clashing viewpoints. However, in The Music Man, differences are set aside when the community finds common ground. It is a show of promise and of unity, and communicates a very important message.
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