“The Music Man,” I’m sorry to say, does not live up to our oversize expectations. Quite unexpectedly, you leave not raving about Jackman, but the music woman — Sutton Foster. She’s a wonder and the…
Joan MarcusThe musical boasts the same creative team as Bette Midler’s wildly successful “Hello, Dolly!,” and we all hoped it would be the bandleader of Broadway’s post-pandemic return. Adding more sparkle, Hugh Jackman plays the leading man, Harold Hill, and on paper, it’s the role of the celebrated actor’s lifetime.Running time: 2 and a half hours with one intermission. At the Winter Garden Theatre, 1634 Broadway.
Much has been made of Foster not having the soaring soprano range of Barbara Cook and Shirley Jones, but that doesn’t matter. Hers is as thoughtful, funny, threatening, witty, maternal and romantic a Marian as you’ve ever seen. She never settles for a schoolmarm stereotype and makes 65-year-old lines fresh.
Sometimes the show is dark and moody, determined not to have too much fun with a story about a con artist who wins in the end despite his misdeeds. At others, it’s the “Music Man” of our cringeworthy high school memories — painfully corny when it need not be. The friendly opening night crowd was not sure when to laugh at the jokes, and that’s a major problem for a musical comedy.
What Hill is meant to achieve in those big numbers is convincing a bunch of stubborn Midwesterners, with his radiant charm and charisma, to trust and embrace a smooth-talking charlatan. But Jackman’s interpretation is so bizarrely dour — as if he’s judging his own character’s sins for us — that their infatuation makes no sense.He and Foster dance Warren Carlyle’s choreography better than any previous pair of actors could’ve. The movement is easy on the eyes but light on storytelling.
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