I remember when Lea Salonga and Daisy Eagan won Tony awards in the same year, 1991. Watching a Filipina and an 11 year old recognized on Broadway’s biggest night was inspirational and transformative as it affirmed all that is possible in the art I was quickly falling in love with. Likewise, watching performers like Michaela Band, Katie Johnson, Sebastien Gilkey, Claire LaFrance, Henrietta Petroske, Korbin Campbell, Emma and Stevie Staley and Isabella Oliveira in Ferndale Repertory Theatre’s The Music Man is heartwarming. Not in the obligatory support-your-kid-in-their-elementary-school-performance way, but witnessing the metamorphosis of young adults into vibrant, self-realized townsfolk as they give this cute and beautiful production texture and life. The success of this show, directed by Jessie Rawson and Veronica Ruse, is not only in its solid presentation, but also (and possibly more importantly) in its ability to cultivate the hearts and minds of future thespians represented by the cast onstage and mirrored in the faces of engaged and exuberant youth in the audience.
The staunch mayor of River City and his wife (Warren Hardison, Tina Toomata) try to maintain the everyday predictability of small-town life amid battling board members (Angelina Floreale, Ross Mollenkopf, Jon Majors, Charles Young), “pick-a-little” gossip and rambunctious youth Tommy Djilas (Gilkey). While on the threshold of the desire for more, the town also finds comfort in their normalcy. Then smooth-talking Harold Hill (Alex Benn) arrives and capitalizes on their hopes. Aided by his friend Marcellus Washburn (Craig Woods), he schemes to create a youth band, collecting money for uniforms and instruments from parents and disappearing into the night. To accomplish this, he needs to distract the unconvinced librarian and piano teacher Marian Paroo (Marina Benson) by wooing her. He uses her mother’s (Roux Kratt) aspiration to see her in love to snag her attention until he realizes the fake plan for the kids is what makes him attractive.
Admittedly, I succumbed to my preconceived notions of the production during the first half, creating distance from the world that was cultivated by co-directors Jessie Rawson and Veronica Ruse. The vibrance and believability of River City emerges in the stunning scenic designs by Carl McGahan and Ben Ruse shine with articulately painted dynamic flats paired with gorgeous projected illustrations, perfectly sculpted period costumes by Linda Muggeridge and lovely sound design by Dillon Tucker. In past productions, the appeal of the show rested predominantly with the story’s namesake and his ability to charm and deflect while captivating the audience with their charisma and dance. His duplicity heightens the joy in their ultimate transformation. While initially disappointed in the downplay of that dynamic, a beautiful dramaturgical discussion with the director and old friend during intermission brought a new understanding that turned a solid musical into a fantastic and relevant story expertly told and beautifully acted. In this piece, River City is yearning for upgrade and anything new and exciting will catalyze it. The theme of the piece is about how change and fear run the same track. The focus is the community and their ability to navigate together within the persuasion of the conman. It is a valid choice that brings a 1957 musical to the modern challenges of 2026.
Band as Winthrop Paroo has a natural comedic timing that adult professionals strive to learn. Toomata again masterfully models the same. Benson has an ease and fluidity in all her choices. While I would love for her to discover more instances that draw her out of her distaste for Harold more gradually, paired with Kratt, their character bond and the effortless way they maintain their objectives works. I would equally love to see an actor more similar in age to Mrs. Paroo cast in the role, but Kratt’s acting ability surpasses the maturity of the role even through the occasional accent slips. Benn handles the heft of the role confidently. The quartet is brilliant not just in the tympanic-titillating a cappella harmonies, but in their relationship with each other.
A general note for all actors: Be aware of the symbiotic relationship between the house and the actors onstage, especially when lines are delivered through the fourth wall. If your tactics are not furthering your objective, changing them may be a better choice than doubling down; angered yelling, tense confidence and giddy invitations to gossip could be replaced by a seething intense whisper, undesired vulnerability or strong urges to participate. The pursuit of truth and connection in the moment is usually more exciting (and fun) than a rehearsed and expected outcome.
This production brought me back to the awe of an othered and repressed youth feeling the magic and wonder of a world full of possibilities in the representation and celebration of artistic excellence. Feeling a child’s joy and freedom is well worth the ticket price, but witnessing them succeed in this beautiful production is priceless. Feel it for yourself.
Ferndale Repertory Theatre’s production of The Music Man continues through June 28, with performances at 7:30 p.m. on Fridays, and at 2 p.m. on Saturdays and Sundays. Visit ferndalerep.org or call (707) 786-5483.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
NOW PLAYING
North Coast Repertory Theatre’s production of The Imaginary Invalid runs through June 13 at the 5th & D Street Theater. Visit ncrt.net, email ncrtboxoffice@gmail.com or call (707) 442-6278.
Coming Soon
EXIT Theatre’s Short Play Festival runs June 18-27 with 12 selected pieces from local and international playwrights. Visit theexit.org or call (415) 203-2516.
This article appears in Cowbells and Crab Hands.