MEREDITH WILLSON CLASSIC THE MUSIC MAN PLAYS WATERBURY’S PALACE THEATRE
By Kiersten Bjork (June 4, 2026)
The national tour of Meredith Willson’s The Music Man, which played at The Palace Theatre in Waterbury, CT, through June 4, is an enjoyable production of the classic musical. It’s a charming story, filled with the iconic tunes you know and love, and featuring impressive choreography.
With a book, music, and lyrics by Willson, and story by Willson and Franklin Lacey, The Music Man follows traveling salesman Professor Harold Hill as he cons the town of River City, Iowa, into purchasing band instruments and uniforms for the boys’ band that he claims to intend to lead, despite his lack of musical knowledge. After all, he plans to have skipped town before they’re any the wiser. What he didn’t see coming was the town librarian who steals his heart, and changes his ways.
The national tour features direction by Matt Lenz (associate director, Roque Berlanga), choreography by Joshua Bergasse (associate choreographer, Naomi Kakuk), music direction by Thomas Fosnocht, and music supervision by Kristin Stowell. For me, the choreography is one of the highlights of the production. The show features an impressive dance ensemble who are leaping, turning, and overall dancing their hearts out on that stage, and the choreography really shines. The direction is classic and effective.
The national tour of Meredith Willson’s The Music Man, which played at The Palace Theatre in Waterbury, CT, through June 4, is an enjoyable production of the classic musical. It’s a charming story, filled with the iconic tunes you know and love, and featuring impressive choreography.
With a book, music, and lyrics by Willson, and story by Willson and Franklin Lacey, The Music Man follows traveling salesman Professor Harold Hill as he cons the town of River City, Iowa, into purchasing band instruments and uniforms for the boys’ band that he claims to intend to lead, despite his lack of musical knowledge. After all, he plans to have skipped town before they’re any the wiser. What he didn’t see coming was the town librarian who steals his heart, and changes his ways.
The national tour features direction by Matt Lenz (associate director, Roque Berlanga), choreography by Joshua Bergasse (associate choreographer, Naomi Kakuk), music direction by Thomas Fosnocht, and music supervision by Kristin Stowell. For me, the choreography is one of the highlights of the production. The show features an impressive dance ensemble who are leaping, turning, and overall dancing their hearts out on that stage, and the choreography really shines. The direction is classic and effective.
Elliott Andrews and the Cast of the National Tour of The Music Man (Photo: The Music Man)
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Elizabeth D’Aiuto, Addie James, and Savannah Stevenson in the National Tour of The Music Man (Photo: The Music Man)
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The titular Harold Hill is portrayed by Elliott Andrews, who has the fast-talking, salesman style down perfectly. He’s smooth, he’s slick, and he certainly knows how to talk his way out of any situation. Andrews’ singing voice wasn’t my favorite–more of a closed off sound than what I hoped to hear in the role–but he plays the character itself very well.
Elizabeth D’Aiuto is a beautiful Marian. She has a gorgeous soprano, her voice soaring through the space, and she handles the sweet yet stern role nicely. I enjoyed her back-and-forth banter with Andrews, as well as with Savannah Stevenson as her mother, Mrs. Paroo. Stevenson is hilarious as Mrs. Paroo, though it did feel that she and D’Aiuto appeared too close in age for the mother-daughter duo. As young Winthrop Paroo, Dylan Patterson is positively endearing.
Patrick Blashill gives one of my favorite performances of the evening as Mayor Shinn. Blashill absolutely nails the humor of the character. As his wife, Eulalie Mackecknie Shinn, Emmanuelle Zeesman is also very funny, leaning into the physical comedy of the role. Her “Grecian Urn” bit is particularly great.
Their daughter, Zaneeta Shinn, is played by the lovely Madison Sheward, whose giggling, giddy portrayal is right at home in the world of the show. Opposite her as Tommy Djilas is Charles Antenen, who is a standout dancer in the company, while also giving a strong performance as the always-in-trouble Djilas. Sheward and Antenen are an excellent pair, particularly in their partner dancing.
As Marcellus Washburn, Paul Urriola is also quite funny, playing up the physical and vocal humor of the character. I enjoyed his relationship with Andrews’ Hill, especially in their number “The Sadder-But-Wiser Girl.” Urriola’s rendition of “Shipoopi” is also great fun.
Our competing salesman, Charlie Cowell, is portrayed by Michael Santora, who handles the other fast-talking role well. He gives us a bit of the sleazy charm necessary to the character, while also leaning into that edge of jealous energy.
Joshua Pierre Moore, Brian Doolittle González, Matthew Wautier-Rodriguez, and Craig First, play the iconic barbershop quartet of Olin Britt, Ewart Dunlop, Oliver Hix, and Jacey Squires, respectively. Some of my favorite moments in the score are sung by this group, and the four do excellent vocal work. They deliver tight harmonies and carefully placed pitches with much success. The other side of their coin, the “Pickalittle” ladies, include Rose Messenger, Whitney Daniels, Alexi Ishida, and Hannah Rose Kidwell as Maud Dunlop, Alma Hix, Ethel Toffelmier, and Mrs. Squires. This quartet has some great comedic moments, and I loved the staccato movement choices for their group.
As mentioned, the dancing really shines through in this production, and it is handled by a talented ensemble of triple threats giving us their all. The ensemble also features Christian Andrews, Anna Chin, Kalista Curbelo, Erin Diehl, Cameron Janson, Kylie Noelle Patterson, Brandon Ranalli, Aidan Rawlinson, Shae Reynolds, Brayden Schilling, and Aaron Torres, with swings Bryce Bayer, Sophie Gordon, Kevin Kuska, Marielle Utayde, and Alyssa Jacqueline supporting.
Elizabeth D’Aiuto is a beautiful Marian. She has a gorgeous soprano, her voice soaring through the space, and she handles the sweet yet stern role nicely. I enjoyed her back-and-forth banter with Andrews, as well as with Savannah Stevenson as her mother, Mrs. Paroo. Stevenson is hilarious as Mrs. Paroo, though it did feel that she and D’Aiuto appeared too close in age for the mother-daughter duo. As young Winthrop Paroo, Dylan Patterson is positively endearing.
Patrick Blashill gives one of my favorite performances of the evening as Mayor Shinn. Blashill absolutely nails the humor of the character. As his wife, Eulalie Mackecknie Shinn, Emmanuelle Zeesman is also very funny, leaning into the physical comedy of the role. Her “Grecian Urn” bit is particularly great.
Their daughter, Zaneeta Shinn, is played by the lovely Madison Sheward, whose giggling, giddy portrayal is right at home in the world of the show. Opposite her as Tommy Djilas is Charles Antenen, who is a standout dancer in the company, while also giving a strong performance as the always-in-trouble Djilas. Sheward and Antenen are an excellent pair, particularly in their partner dancing.
As Marcellus Washburn, Paul Urriola is also quite funny, playing up the physical and vocal humor of the character. I enjoyed his relationship with Andrews’ Hill, especially in their number “The Sadder-But-Wiser Girl.” Urriola’s rendition of “Shipoopi” is also great fun.
Our competing salesman, Charlie Cowell, is portrayed by Michael Santora, who handles the other fast-talking role well. He gives us a bit of the sleazy charm necessary to the character, while also leaning into that edge of jealous energy.
Joshua Pierre Moore, Brian Doolittle González, Matthew Wautier-Rodriguez, and Craig First, play the iconic barbershop quartet of Olin Britt, Ewart Dunlop, Oliver Hix, and Jacey Squires, respectively. Some of my favorite moments in the score are sung by this group, and the four do excellent vocal work. They deliver tight harmonies and carefully placed pitches with much success. The other side of their coin, the “Pickalittle” ladies, include Rose Messenger, Whitney Daniels, Alexi Ishida, and Hannah Rose Kidwell as Maud Dunlop, Alma Hix, Ethel Toffelmier, and Mrs. Squires. This quartet has some great comedic moments, and I loved the staccato movement choices for their group.
As mentioned, the dancing really shines through in this production, and it is handled by a talented ensemble of triple threats giving us their all. The ensemble also features Christian Andrews, Anna Chin, Kalista Curbelo, Erin Diehl, Cameron Janson, Kylie Noelle Patterson, Brandon Ranalli, Aidan Rawlinson, Shae Reynolds, Brayden Schilling, and Aaron Torres, with swings Bryce Bayer, Sophie Gordon, Kevin Kuska, Marielle Utayde, and Alyssa Jacqueline supporting.
Elizabeth D’Aiuto and Elliott Andrews in the National Tour of The Music Man (Photo: The Music Man)
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Elliott Andrews and the Cast of the National Tour of The Music Man (Photo: The Music Man)
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Scenic design by Ann Beyersdorfer nicely evokes the world of the show. There are gorgeous backdrops of the town, as well as the set piece for the Paroo household, that shine on stage. One of my biggest notes from the show though, was the lack of brakes on the footbridge. Every time an actor stepped on or off the bridge, it would roll from side to side, making me concerned for the actors’ safety.
Lighting by designer Ken Billington builds upon the scenery beautifully, utilizing some lovely practical lamps onstage on the house and in the living space. Video and projection design by Lisa Renkel adds a neat element to the show, my favorite of which is the Wells Fargo Wagon that can be seen making its way across the upstage wall as the performers look expectantly out over the audience during the big number. Walter Trarbach’s sound design is solid. However, there seemed to be some cuing issues at the performance that I attended. There were a number of instances where different actors' mics weren’t coming on in time for the beginning of their lines.
Broadway and tour costume design by Santo Loquasto (costume coordinator, Robin L. McGee) is gorgeous. The many dresses in particular stand out, especially Marian’s looks, and the iconic band uniforms truly shine. Hair and makeup designer Roxanne De Luna rounds out the character looks nicely across the board.
Lighting by designer Ken Billington builds upon the scenery beautifully, utilizing some lovely practical lamps onstage on the house and in the living space. Video and projection design by Lisa Renkel adds a neat element to the show, my favorite of which is the Wells Fargo Wagon that can be seen making its way across the upstage wall as the performers look expectantly out over the audience during the big number. Walter Trarbach’s sound design is solid. However, there seemed to be some cuing issues at the performance that I attended. There were a number of instances where different actors' mics weren’t coming on in time for the beginning of their lines.
Broadway and tour costume design by Santo Loquasto (costume coordinator, Robin L. McGee) is gorgeous. The many dresses in particular stand out, especially Marian’s looks, and the iconic band uniforms truly shine. Hair and makeup designer Roxanne De Luna rounds out the character looks nicely across the board.
Elliott Andrews and the Cast of the National Tour of The Music Man (Photo: The Music Man)
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Elizabeth D’Aiuto and the Cast of the National Tour of The Music Man (Photo: The Music Man)
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All in all, it’s a lovely production of a classic musical. Filled to the brim with iconic songs that will have you humming along as you exit the theatre, it’s a delightful piece that features some truly wonderful choreography and dancing. Don’t miss your chance to catch the tour in a city near you!
The Music Man played June 2-4, 2026, at The Palace Theatre in Waterbury, CT. Learn more and purchase tickets for upcoming performances at palacetheaterct.org or by calling the Box Office at (203) 346-2000. See The Music Man in a city near you, and learn more at themusicmantour.com.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
The Music Man played June 2-4, 2026, at The Palace Theatre in Waterbury, CT. Learn more and purchase tickets for upcoming performances at palacetheaterct.org or by calling the Box Office at (203) 346-2000. See The Music Man in a city near you, and learn more at themusicmantour.com.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.