Sutton Foster: "The Music Man"

"The Music Man" is a bit like "Better Call Saul"; it's about a charismatic con man and a series of crimes.

Harold Hill wants success -- but he has a touch of "Slippin Jimmy" in his soul. He offers to teach children music, but he can't read music; he uses a tactic called "the think method." (If you think about the Canon in D, you'll just somehow master it.) This isn't a really satisfying way to live -- and Harold partly understands his situation -- but old habits die hard.

Meanwhile, Harold's antagonist -- his Inspector Javert -- is a tough-minded librarian who is in mourning. She knows who Harold is, but when Harold uses some of his sparkle to brighten the lives of little children in the Town Hall, the antagonist has a hard time imagining how she should proceed.

The Times already described what is puzzling about the current Broadway revival. It seems like Hugh Jackman is afraid to play a con man; he is just sort of quiet and charming, as if he hopes we won't give any thought to what his character is really doing. Meanwhile, Sutton Foster, who does give a real performance, seems badly miscast; she is old enough to be her "brother's" grandma, and her singing voice (which I normally love) seems shrill and irritating when she tries to tackle "My White Knight."

Still, it's interesting to see Sutton Foster losing her footing (because this happens so rarely). I did wonder why the Times neglected to mention the total absence of sexual heat in this version of the show; would it be offensive to point out a lack of chemistry?

I'd like to see a young Audra McDonald as Marian -- or a young Kelli O'Hara in the Marian role. I know that won't happen. At the least, this production took me back to the movie soundtrack -- which is a great choice for a long car ride. (It's like listening to a smart radio play.)

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