For The Music Man, a 50-year-old classic that was one of the biggest Broadway hits of its decade, has lost none of its pep and pizazz in this superb revival.

As one has come to expect at the Oaklands Park venue, the presentation is pretty well perfect, thanks to the efforts of a front-rank creative team and a wonderful cast headed by Brian Conley and Scarlett Strallen.

Set in the early part of the 20th century, the show simply oozes nostalgia as it transports us to River City, Iowa, a sort of idealised centre of rusticana.

Here homespun philosophy, endearing eccentricity and the legendary stubborness of these mid-Western folk contribute to a story for which author, lyricist and composer Meredith Willson drew on his own childhood experiences.

And so, bathed in the rosy glow of a more innocent era, The Music Man provides warm and comfortable entertainment in which you know that despite the criminal tendencies of its conman central character there will be a joyously happy ending.

You can't leave the theatre not humming one of the composer's great tunes which range from the stirring Seventy-six Trombones (how the Americans love a parade!) to the gloriously melodic ballad Till There Was You.

Apart from the songs, you have a touching love story, a rich vein of (slightly corny) humour, a lot of superb dancing and a clutch of great performances.

Brian Conley, taking on the role he's been waiting years to play, is masterly in his portrayal of "Professor" Harold Hill, a devious travelling salesman with a reputation for dishonesty.

He arrives in River City aiming to swindle the townsfolk with a scheme to prevent juvenile delinquency by setting up a boys' band.

He sells instruments and uniforms, planning to take the money and run before they arrive. But he has reckoned without the town's spinster librarian Marian. While the townspeople fall under his spell, he falls under hers. He is about to become a reformed man.

Conley's own beguiling manner and easygoing stage presence make him a natural for a role he could have been born to play.The way he puts over his musical numbers, particularly the fast patter song Ya Got Trouble, is impressive.

Scarlett Strallen. who recently played Mary Poppins in the West End, proves another astute piece of casting in the role of Marian. She has a delightful, bell-like soprano voice heard to maximum advantage in the show's great ballads.

And she quite skilfully manages the transition in her character from the non-believer who recognises Hill as a charlatan only to be charmed by him when he sells her his revolutionary "think" system for teaching the kids to play musical instruments. Think the tune enough times and you can play the notes!

One of the production's great strengths is its marvellous team of supporting actors who bring the River City screwballs to life so vividly.

Andy Hockley is a particular joy as Hill's eager sidekick Marcellus and Katy Secombe is another stand-out as Marian's Irish mum who uses the "think" system to promote her daughter's love life. Rolf Saxon and Jenny Galloway are appropriately oddball as the mayor and his wife.

Choreography by Stephen Mear is all you would expect from one of the top men in the business and the company do full justice to it. The dance sequences are amazing.

The show is another feather in the cap for director Rachel Kavanaugh, orchestrator and music supervisor Steven Edis and musical director Stephen Ridley.

-------------------------------------
Click here to go back to leisure.

Where are you? Add your pin to the Herald's international readers' map by clicking here.

Email the Herald: letters@worthingherald.co.uk