Fall 2019: The Music Man

Book, Music, and Lyrics by Meredith Wilson

By turns wicked, funny, warm, romantic and touching, The Music Man is family entertainment at its best. Meredith Willson's six-time, Tony Award-winning musical comedy has been entertaining audiences since 1957 and is a family-friendly story to be shared with every generation.

The Music Man follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys' band that he vows to organize – this, despite the fact that he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian, who transforms him into a respectable citizen by curtain's fall.

CAST

Harold Hill

Marian Paroo

Mrs. Paroo

Winthrop Paroo

Marcellus Washburn

Charlie Cowell

Mayor George Shinn

Eulalie Mackecknie Shinn

Zaneeta Shinn

Tommy Djilas

Gracie Shinn

Amaryllis

Ewart Dunlop

Oliver Hix

Jacey Squires

Olin Britt

Ethel Toffelmier

Maud Dunlop

Alma Hix

Mrs. Carol Squires

Constable Locke

Conductor, Policeman

Featured Dancers

Jack Mills

Lydia Newman

Meggie Ferguson

Emma Soistmann

Susana Kuhn

Graham DiLorenzo

Jeffrey Mouritzen

Omega Ilijevich

Caroline Simmons

Russell Petro

Catie Ratliff

Julia Nelson

Emilia Couture

Miles Jackson

Julia Nelson

Aldrian Argante

Tylar Schmitt

Katie Coleman

Catie Ratliff

Emma Soistmann

Hadi Houalla

Mason Smith

Caroline Simmons, Graham DiLorenzo, Hadi Houalla, Meggie Ferguson, Susana Kuhn, Russell Petro

Flute / Piccolo

Clarinet

Clarinet/Bass Clarinet

Alto Saxophone/Clarinet

Alto Saxophone

Trumpet

Trombone

Violin

Cello

Bass

Piano

Percussion

Mathilde Rosi-Marshall

Amelia Moschitta

Claire Bassett

Caroline Brown

Alex Wang

Jaden Kyler-Wank

Daryl Brown

Christian Cook

Joshua Lisner

Andrew Culbertson

SamuelBrown

Patrick Lee

Olivia Koshute

John Perez

Travis Short

Jacquelyn Bryant

Nathaniel Craft

Darwin Walter

Alex White

David Miron

PIT
CAST

Set Designer

Assistant Technical Directors

 

 

 

Stage Managers

 

Master Carpenter

Assistant Carpenter

Head Lighting Designer

Head Paint

Assistant Paint

Head Sound

Assistant Sound

Head Costumer

Assistant Costumer

Head Props

Head Hair and Makeup

Master Electrician

Assistant Lights

Run Crew Chief

Run Crew Members

Jacob Cansler

Nick DiMaggio

Cecily Farrell

Allie Potter

Tanner Asmussen

Chris Lin

Kyndal Harrison

Matt Hoffman

JaLynn Smith

George Pernick

Lydia Modlin

Sarah Bryan

Zoe Calderazzi

Emily Williams 

Stephanie Zhang

Spencer Davis

Ami Kano

Stephanie Morton

Jenna Benzing

Gabrielle Bray

Grace George

Christina Le

Holly Sims

Lou Wilkin

John Fitzgerald

Dorothea LeBeau

Maggie Hyatt

Stephanie Zhang

Zoe Calderazzi

Christina Le

Holly Sims

Lights

Sound

Carpentry

Paint

 

 

 

 

 

 

 

 

Props

Hair / Makeup

Costumes

Run Crew

Jose Perez 

Will Donahoe

Ryan Smith

Madeleine Brence

Ben Dooley

Celina Paudel

Paul Jouffroy

Perri Dinnerman

William Clawson

Kallia Smith

Bridget Rodig

Kaitlin McCarthy

Sophie Scott

Abby Loranca

Raghda Labban

Genevieve Allen

Jss Miller

Katy Owens

Katie Timothy

Emma DeMartino

DJ Exel

Jake Waters

Juliet Bauer

Alexandra Shaul

Jules Herman

Jessica Wen

Genevieve Allen

Phoebe Hale

Perri Dinnerman

Sabrina Lingenfelter

Katy Owens

Raghda Labban

Georgia Brousseau

Lindsey Davidson

Jessica Wen

Laila Stone

Emma DeMartino

Jose Perez

Paul Jouffroy

Giselle Pfaeffle

TECH HEADS
TECH TEAMS
PRODUCTION STAFF
ARTISTIC STAFF
COMMITTEES

Producer

Assistant Producer

Business Manager

Assistant Business Manager

Publicity Chair

Fundraising Chair

Social Chairs

 

 

Historians

Alumni Chair

Webmaster

Technical Director 

Tess Driscoll

Heath Yancy

Josie Suddeth

Leona Gaither

Cecily Farrell

Jessica Ferebee

Nick Martinez

Aubrey Hill

Elise Nugent

Julia Parasio

Micah Rucci

Veronica Seguin

Sadie Frymire

Julia Landini

Maeve Konouck

Kate Giesler

Director

Assistant Directors

Vocal Directors

 

Choreographers

Pit Director

Jessie Filder

Cortland Comer

Caitlin Vallesky

Jacob Bagoly

Madison Karten

Julia Ruth Preston

Anna Grace Chang

Macie O'Connor

Alyssa Ryberg

Caitlin Woodford

Spencer Culberson

Business

Fundraising

Publicity

Maddie Gereski

William Helmrath

Brody McDevitt

Austin Rhea

Olivia Sahid

Josh Eiger

Maame Sarpong Duah

Karen Zipor

Hanna Kornell

Matt Peterson

Stephanie Morton

Jaison Washington

Director's Note: Jessie Fidler

Our production of The Music Man is an experiment. As an organization, we challenged ourselves to reexamine the ways in which we produce older, often outdated, pieces of theater. To breathe life into pieces of art that are in their afterlife, and to make the story our own, for our time. I have often questioned the responsibility of the artist. Are we to continue producing works of theatre that are now seen as problematic? How can we increase the canon of great theatre to include diverse and new voices, if we continue producing older pieces of work, often written by white men? How can we push back against the script, or should we push back at all? These were few of the many questions I had when proposing The Music Man. 

 

Meredith Willson’s The Music Man is the story of a small town in 1912 River City, Iowa, which serves as a nostalgic, love letter to the small-town Americana he grew up in during the early half of the 20th century. After researching into the time period and social norms of the 1912 Midwest, I encouraged the cast to make The Music Man their own. We had open dialogues with our Diversity and Inclusion Chairs about what aspects of The Music Man the cast related to and the parts that they found to be inappropriate to perform on stage today. What we discovered was that it was much more powerful to address, critique, and/or update outdated sections of the show, than to cut them in their entirety, with the exception of one scene, as physically performing racism was irredeemable to our actors. 

 

Is Harold Hill a hero, as the script implies, or an opportunity-seeking con-man who profits off of Iowans' belief in the American Dream? How can we give more agency to Marian, the Pickalittle Ladies, and other female characters, while at the same time, recognizing the time period in which the story takes place? Our production is the result of several discussions about the implicit racism, sexism, and exclusive Americana in The Music Man script. We know that our production may not be perfect in addressing these issues, and we encourage you to speak to us about your thoughts of what worked and what didn’t.

 

I would like to thank each and every member of First Year Players, from Tech Member to Producer, who made this show possible. Thank you to the Production Staff, Artistic Staff, Tech, and Pit, without whom this show would not have been possible. Final thanks to the first year cast members, who approached the vision with open minds and an eager spirit that made them a delight to work with. This show is their own, and I am proud to have been their Director. We hope you will leave our humble, concrete box theater tonight questioning productions of older pieces of theatre, such as The Music Man. Produce and support pieces of theatre that are fresh, and challenge yourselves to reexamine older works of art and theatre. Thank you.

Producer's Note: Tess Driscoll

Similar to the community of The Music Man’s River City, Iowa, First Year Players is a tight knit group of people with our own quirky customs, dreams, and obstacles to overcome. Our members come together from all corners of the University because they are drawn to the art of theatre. The Music Man tells a similar story of a community coming together through the art of music. However, unlike traditional productions of The Music Man, the members of First Year Players were not comfortable with the sexism, racism, and other forms of discrimination that existed during 1912 that have been manifested in other interpretations of this show. Thus, together, we took a critical look at the script. Like Marian Paroo fact checking Harold Hill, we questioned the characters’ behaviors, investigated the roots of these issues, and acted. Rather than hiding the script’s flaws, we choose to use this show to critique these themes while still maintaining the excitement of a Golden Broadway Musical.

In many ways, our production of The Music Man reflects FYP’s community. Each year, new members join our group, spreading fires of new ideas and bringing new life to our productions. We maintain our traditions of welcoming our new cast and pit during Roll Night, going to Bodo’s every Monday morning, and singing the Good Old Song after every performance. And we continue to make new ones, such as rolling our new Tech Members, going to Kings Dominion for Halloween Haunt, and creating the role of Diversity and Inclusion Chair to help us analyze our scripts and ourselves. Over the course of my four years, I have had the pleasure of meeting several brilliant Marian Paroos (although more well-rounded) and charismatic Harold Hills (although more virtuous). We thrive off of our new members and seek social change within our community. 

I am so thankful to be a part of First Year Players. It has been an honor to work with such talented, passionate, and hard-working individuals. Like Harold Hill, we may not have degrees in directing, acting, orchestrating, or tech work, but we still produce fantastic shows with what we have. We build our own sets, sew our costumes, borrow instruments, and work together to turn our vision of student run theatre into a reality. To my FYP Family – thank you for playing a part in my favorite story. To you, the audience – I hope you get a glimpse into why FYP means more than just First Year Players; to me, and to many others, it means Finding Your Place. We hope you can find your place here with us tonight and that you enjoy the show!

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Although this organization has members who are University of Virginia students and may have University employees associated or engaged in its activities and affairs, the organization is not a part of or an agency of the University. It is a separate and independent organization which is responsible for and manages its own activities and affairs. The University does not direct, supervise or control the organization and is not responsible for the organization’s contracts, acts or omissions.