Reviewer: J. Cooper Robb for Theatre Reviews Limited
If you think perfection is unattainable, Susan Stroman's revival of Meredith Willson's "The Music Man" may change your mind. From the rat-tat-tat of the opening number "Rock Island" right through to the brassy curtain call (a terrific payback for those too busy to actually applaud the performers) Stroman has not only captured all the rhythms of Willson's legendary musical, but elicits them brilliantly in her updating of the show's choreography.
A spectacular fusion of color, sound and movement, as good as the physical production is, the ultimate success of any "Music Man" rests squarely on the shoulders of the actor walking in the footsteps of Robert Preston's lead performance as Professor Harold Hill. And in Craig Bierko, Stroman has certainly found her man. Bierko has kept the best of Preston while providing the role with a new muscularity and sex appeal.
Much has been made of Bierko's so-called channeling of Preston, but here's the rub. Should Bierko deny the choices made by Preston even if they are the correct ones? Should he be so egoistical as to insist on making the role his own even at the detriment of the production? Bierko's philosophy is obviously to make his performance fit this production, and he does so every bit as successfully as Preston's portrayal fit the 1957 original. From the sets, costumes and choreography right through the supporting roles, "The Music Man" is as good as it gets and perhaps even better. For when the golden-throated Rebecca Luker delivers the soaring "Till There Was You," leading to one of the most romantic smooches in stage history, the meltdown in the theater is palpable. "The Music Man" is not only superior to the much-ballyhooed revival of "Kiss Me Kate," but ranks as one of the greatest musical revivals in Broadway history.