The Music Man

Books, Music & Lyrics by: Meredith Wilson
Directed by: Matt Lenz
Produced by AT&T Performing Arts Center's Broadway at the Center
Winspear Opera House

Audience Rating: PG
Run Time: 2 Hours and 30 minutes with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
ASL Showing: Not Available
Sensory Friendly Show: Not Available
Sound Level: Comfortable Volume Level
Audio/Visuals to Prepare For: None of note

Reviewed by Michael Winters

The national tour of The Music Man played at Dallas’ Winspear Opera House for a brief engagement over the weekend, offering audiences a lively evening built around humor, romance, and the unmistakable rhythms of Meredith Willson’s classic score. Set in the fictional town of River City, Iowa, the musical follows the arrival of traveling salesman Harold Hill, who persuades the townspeople to invest in a boys’ marching band despite having no intention of teaching it. His carefully plotted exit strategy becomes complicated when he encounters Marian Paroo, the town librarian whose skepticism proves harder to overcome than expected.

Elliott Andrews steps into the role of Harold Hill with an engaging stage presence and a rich, confident vocals. The role’s shifting musical demands—from patter-heavy passages to more lyrical moments—are handled smoothly, and Andrews maintains a playful sense of timing throughout. His tall frame and relaxed physical style give the character an appealing looseness that suits Hill’s fast-talking personality. Andrews presents Hill as someone who enjoys the thrill of persuasion perhaps a bit too much, making the character’s eventual change of heart feel earned rather than sudden.

Elizabeth D’Aiuto provides a strong counterpart as Marian Paroo. Her soprano voice carries clearly through the house, particularly during “Goodnight My Someone” and “Till There Was You.” These numbers allow Marian’s emotional outlook to evolve in ways that feel both natural and carefully measured. At the start, Marian approaches Hill with clear reservations, and D’Aiuto portrays that caution with quiet determination. Over time, her resistance softens as she begins to reconsider the man standing in front of her. Savannah Stevenson adds welcome humor as Marian’s mother, Mrs. Paroo, delivering several of the evening’s lighter moments with well-timed comedic instincts.

The developing relationship between Hill and Marian forms the heart of the evening. Andrews and D’Aiuto establish a believable rapport that gradually shifts from wary observation to genuine connection. A particularly effective scene takes place at the footbridge. Director Matt Lenz has crafted a moment where the tone of their interactions changes noticeably, revealing a tenderness that deepens the emotional stakes of the story.

The company ensemble contributes significantly to the overall momentum of the production. Despite many performers making their first appearance on a national tour, the group moves with assurance and cohesion. Choreographer Joshua Bergasse fills the stage with movement that emphasizes both precision and personality. Large musical moments such as “Seventy-Six Trombones” and “Shipoopi” unfold with dynamic formations and athletic dancing that energize the room and frequently prompt enthusiastic reactions from the audience.

Among the evening’s most entertaining moments is “Pick-a-little,” performed by River City’s band of determined busybodies. With their tightly coordinated steps and hats crowned by exuberant feathers, the women flutter across the stage like a flock of gossiping birds. The sequence is both visually playful and sharply comic, capturing the social quirks of a town where everyone seems to know everyone else’s business.

The visual design contributes significantly to the show’s welcoming atmosphere. Scenic Designer Ann Beyersdorfer and Projection Designer Lisa Renkel craft a setting that resembles a hand-painted watercolor postcard from the early 1900s. Buildings appear with storybook charm, while projections expand the world beyond the stage itself. During “The Wells Fargo Wagon,” animated images carry the wagon’s arrival through the town streets, amplifying the anticipation of River City’s eager residents.

The production ultimately delivers an evening filled with warmth, humor, and musical exuberance. Director Matt Lenz approaches the material with a clear respect for what has made the show endure for decades. Rather than reimagining the story, he allows its characters, melodies, and community spirit to shine on their own terms. By the time the final brass notes ring out, River City feels less like a distant fictional town and more like a place audiences are reluctant to leave—a testament to the enduring power of a well-told musical story.

Let theatre take you places—it’s worth the ride.

Michael Winters

Production Photos by Marshall Meadows