A Grand Opening for BYU’s THE MUSIC MAN in Concert

PROVO — Opening night of BYU Department of Theatre and Media Arts’ The Music Man in Concert marked the inaugural performance in the Mainstage Theatre of Brigham Young University’s brand-new Arts Building. Audiences were treated not only to Meredith Willson’s beloved musical but also to the first opportunity to experience this impressive new performance space. Director Megan Sanborn Jones brings this concert version of the classic musical 

With approximately 800 seats, the new Mainstage Theatre is smaller than the former de Jong Concert Hall, which seated 1,269 in the demolished Franklin S. Harris Fine Arts Center. However, the decreased capacity creates a closer, more intimate connection between performers and audience, with excellent sightlines and a greater sense of engagement.

The acoustics may be the venue’s greatest achievement. Thoughtful architectural design and sophisticated audio technology produce remarkably clear, balanced sound. Dan Morgan’s sound design was particularly impressive. “Pickalittle,” with its competing orchestra, vocals, and rapid-fire dialogue, demonstrated just the exceptional quality of the sound mixing. Every element came through with pristine clarity, including dialogue that often gets lost beneath the music. Throughout the production, the orchestra remained balanced with the singers.

The live orchestra was magnificent. Under the direction of Marcel Bowman, the full complement of strings, brass, percussion, and woodwinds brought wonderful richness to the score. “Seventy-Six Trombones” is especially exhilarating. After hearing The Music Man with a full live orchestra, it is difficult to imagine experiencing the musical any other way.

Rather than a fully staged musical, this was a concert presentation, with the orchestra positioned at the back center of the stage and performers delivering dialogue and songs at six microphones downstage. Minimal props and an abbreviated script keeps the focus on the central story, trimming secondary characters and subplots. Although traditional blocking and physical action are limited, facial expressions and vocal delivery keep the production lively. Dance also remained an essential part of the performance, and the cast found plenty of opportunities to bring movement, personality, and humor to the stage.

The concert attire adds visual charm. Floor-length gowns and suits provided an elegant foundation, while colorful vests, a red bow tie, Gatsby-inspired boater hats, and Harold Hill’s rich burgundy three-piece suit add touches of Americana and vintage style. Taylor Peel’s gown as Marion is particularly stunning.

Milinda Weeks’ projection design is another highlight. The artwork appears to incorporate hand-drawn and painted elements that are subsequently digitized, creating an organic, nostalgic look perfectly suited to River City, Iowa. Projected settings include a footbridge, town square, library, and home exterior. Subtle gingham textures, delicate brushstrokes, Americana details, and musical notes incorporated into Marion home as the music teacher gave the otherwise simple images delightful intricacy. The projections provide just enough visual context without overshadowing the performers.

The opening number, “Rock Island,” is terrific. The traveling salesmen trade rhythmic, a cappella dialogue aboard a train about the new salesman Harold Hill, who supposedly doesn’t know the territory. The precision required is considerable, and the ensemble delivers every word and vocal entrance with remarkable timing and pitch.

Every ensemble number is a delight. Music director Amanda Crabb shapes the rich harmonies beautifully, while the talented cast delivers powerful voices and impressive musical discipline.

Taylor Peel as Marion Paroo was a standout. Peel’s rich, powerful voice was especially beautiful in “Goodnight, My Someone” and “Till There Was You,” both wonderful showcases of her vocal range and expressiveness.

Ammon Palmer as Harold Hill offers a departure from the traditional fast-talking, energetic showman. Palmer portrayed Hill as a slicker, more smarmy con artist. Although the interpretation sacrifices some of the character’s customary sparkling showmanship, the added sleaziness makes Hill’s eventual transformation into a genuine champion for River City all the more satisfying.

The four River City school board members—Adam Sagers, Jashub Young, Sam Carpenter, and Owen Kofford—are another highlight. Once transformed by Professor Hill into a barbershop quartet, the bickering board members display excellent vocal blend, tone, and tightly coordinated harmonies.

Jacob Anthony, a sixth grader portraying Winthrop Paroo, also steals the spotlight. Anthony’s charming lisp and initially timid demeanor makes Winthrop endearing, and his transformation into an exuberant little boy bursting with excitement over the Wells Fargo Wagon is delightful.

Megan Furness as Eulalie Mackecknie Shinn brings plenty of comic energy. As Mayor Shinn’s wife, Furness leads the Ladies’ Auxiliary Society, whose exaggerated facial expressions and amusing dance movements generated some of the evening’s biggest laughs.

At its heart, The Music Man follows Harold Hill, a charismatic con man who arrives in River City posing as a boys’ band organizer, selling instruments and uniforms while promising to teach music through his supposedly revolutionary “Think System.” Yet the story becomes something more meaningful than a clever con. As the production’s dramaturgical notes observe:

“People who before barely noticed one another begin to harmonize together. That transformation may be Harold Hill’s greatest trick. He arrives promising River City a band, but what he actually creates is a community.” – Shelley Graham and Isaac Moss.

That sentiment captures the enduring appeal of Willson’s musical. Beneath the humor, romance, and memorable songs is a story about connection and belonging. The concert format, with its emphasis on voices and music, brings that theme into sharper focus.

With a magnificent live orchestra, beautiful projections, impressive vocal performances, and plenty of humor, this inaugural production was a thoroughly enjoyable celebration of a beloved musical and an exciting new chapter for BYU Theatre and Media Arts.

Editor’s Note: Production Photos can be provided to UTAJ through this form.