“A breathtaking piece of theater! TREVOR is filled with such genuine feeling.
Sorry, Lin Manuel Miranda, but Meredith Willson got there first.
Looking at the show anew through the lens of 2019, I see a far more sophisticated and prescient show, however. Willson’s uses music in ways far ahead of his time. He set out to “write the dang songs as dialogue”- to set the words in the way Iowans speak. Thus unlike some other shows of the Eisenhower era, his lyrics use rhymes only sparingly throughout the patter songs, barbershop quartets, Sousa style marches, and piano exercises that make up the timeless score. Further, many of the songs ingeniously link to each other- when first introduced, “Goodnight My Someone” and “76 Trombones” feel unrelated musically, yet they are actually built on the same tune- one as a waltz and one as a march. As the characters connect, so do the songs.
Willson’s forward thinking extends to his depiction of Marian Paroo, the smartest woman in town (and only woman notably with a job) who remains steadfastly single, insisting: “A girl’s future doesn’t depend on encouraging every fast-talking, self-centered, woman-chasing travelling man who comes to town.” Marian makes her own rules (a progressive thought for 1912 and 1957), and it’s only when she sees the positive effect Harold has on the town (and especially her terminally shy brother) that she develops feelings for him.
But the true brilliance and relevance of the show for me lie in what it says about the nature of belief. The citizens of River City listen to outsider Harold Hill not because they are rubes too gullible to see through his fanciful promises, but because deep down, they wantto be conned. In his plan to save them from the non-existent disaster of his own making, Harold Hill offers two things Americans have always loved: fame and a shortcut. Harold’s “think system” offers something for nothing- proficiency without practice. And in this fever dream of wish fulfillment, facts become irrelevant. At the end of the show, the parents of River City see and hear only what they want to hear.
I hope our company—filled with the finest musical theatre talents reflecting the America of today—helps amplify the timeless brilliance of this Great American Musical. Enjoy!
Welcome to Frank Loesser and Abe Burrows’ 1961 Pulitzer Prize-winning masterpiece, How to Succeed in Business Without Really Trying- based on Edward “Shepherd” Mead’s 1952 book of the same name. Writing his satirical “Dastard’s Guide to Fame and Fortune,” Mead drew from his own experiences climbing the ranks of a large advertising agency, and his skewering of corporate culture in the form of a “self-help” book immediately resonated with casual readers and businesspeople alike. The original Broadway production proved even more popular, running over four years and accruing numerous prizes, including seven Tony Awards. Though almost 60 years have passed, the piece's uproarious commentary on corporate America feels surprisingly resonant in 2018 - an indication of how little has actually changed since Loesser and Burrows first put pen to paper. In an increasingly corporate America focused on success, fame, and power, it serves as a reminder that the system is not the impenetrable behemoth most make it out to be.
Directors of revivals from the golden age of musical comedy often find themselves troubleshooting when contemporary sensibilities clash with worldviews from a time of different sexual politics. At first glance, How to Succeed might seem to have similar problems: After all, set in the sexist Mad Men era of “good old boys” behaving badly, it was written originally to appeal to the “tired businessman.” Yet, though still a product of its time, How to Succeed shines its satirical spotlight directly on the issue in a refreshingly progressive break from the tacit approval of other shows of the period. A bold statement in 1961, it both identifies sexual harassment as a common workplace occurrence and offers real consequences for transgressors: "They fired him like a shot/The day the fellow forgot/A secretary is not a toy." Even now, in a world with daily #MeToo revelations, it’s still clear not everyone is subject to that same rule.
Further, though the women of the piece are not afforded an equal opportunity to climb the corporate ladder, they are also not left without agency within their circumstances. Rosemary’s burning ambition takes the form of a romantic relationship, but we don't believe for a second that she will ultimately be "happy to keep his dinner warm." She and Finch share a willingness to work the system to get what they want - perhaps that's why they find each other and fall in love. From the start, Rosemary inherently understands how the building works and how to navigate the sticky wicket of 1960s corporate culture in a way that Finch still needs to learn. Perhaps she even might put that knowledge into a book someday!
Ultimately, the brilliance of How to Succeedlies in its timeless understanding of human nature within the corporate system and its sparklingly witty Frank Loesser score. As we watch Finch lie and charm his way up the ladder without repercussions - ultimately setting his eye on politics - perhaps the real accomplishment of the show is not as a time capsule but as a prophecy.
For video of Presto Change-O, click here!
Winner of the NYMF Directing Award!
The Monte Cristo Award is presented to a prominent individual each year in recognition of a distinguished career exemplifying Eugene O’Neill’s “pioneering spirit, unceasing artistic commitment, and excellence,” and furthering the American theater.
Broadway Salutes, co-sponsored by the Broadway League and COBUG (Coalition of Broadway Unions and Guilds), honors actors, agents, attorneys, box office treasurers, casting directors, choreographers, composers, designers, directors, dressers, managers, musicians, orchestrators, producers, publicists, stagehands, stage managers, stylists, theatre owners, ticket sellers, ushers, writers, and many more theatre professionals who have dedicated their careers to the success of Broadway.